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Superheroes in Hollywooi 


Isaac Asimov 
Arthur C. Clarke v V' 
James Blish 
Rod Serling, Etc. 


Books, Records, Conventi6rj 



SPACE: 1999 



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Lindsay Wagner hugs Ted Cassidy during a break in 

the filming of "The Return of Big Foot" — a two-parter 

that opens both Six Mi/lion Dollar Man and Bionic 

Woman for ABC's fall television season 

(see page 24). 

Business and Editorial offices: 
O'Quinn Studios, Inc. 
180 Madison Avenue, Suite 1503 
New York, NY 10016 


Kerry O'Quinn, Norman Jacobs 

Editor in Chief: David Houston 

Managing Editor: James M. Elrod 

Assistant Editor: Kirsten Russell 

Art Director: Linda Bound 

Contributors: Kez Howard, Jim Burns, 
Bill Irvin, Tom Rogers. Gary Gerani, 
Frank Squires, John Waldrop, Tom 



Movies, Television, News 


Gene Roddenberry: Two Men in One 
The Star Trek Movie 

Famous Star Trek Fans. 



Exploring Logan's 23rd Century World 


Wonder Woman, Gemini Man, Holmes and Yoyo. 




The Stories H.G. Wells Wrote or Inspired 

Special Collectors Section 





About the cover: Famous "action artist" 
Dick Kohfield said this work was a great 
pleasure, because he and his 14-year-old 
son, Glenn, are fans of Space: 1999. Dick 
is concentrating on paperback book covers 
lately but frequently produces illustrations 
for sports magazines and does movie 
posters— his most recent was Supercops. 

STARLOG is published quarterly by O'Quinn Studios, 
Inc., 180 Madison Avenue, New York. NY 10016. This 
is Volume 1, Number 2, November, 1976, copyright ; 
1976 by O'Quinn Studios, Inc. Subscription rate: S4.99 
for four issues; foreign: S6.99. and if you're so thorough 
as to be reading all this microscopic type, you deserve a 
bonus ... we just learned that there are two movies in 
the works about the Loch Ness monster. In addition to 
the one discussed In this month's Log Entries, there's 
The Legend of Loch Ness- which will be released soon 
through Globe Cinema Arts. The publishers accept no 
responsibility for loss or damage of unsolicited photos 
or manuscripts, but if free-lance submittals arrive with a 
return envelope and postage, they will be carefully con- 
sidered and, if necessary, returned. Address cor- 
respondence, submittals, classified ads, and subscrip- 
tion orders to STARLOG Magazine. 180 Madison 
Avenue, Suite 1503. New York. NY 10016. 

SPACE: 1999 

Recovering from the Mysterious Unknown Force 32 

Complete First Season Episode Guide 37 

Twelve Episodes of the New Season 39 


On the Planet of Sophistication 

Chapter Guide for the First Serial 


New Movie and Television Efforts to Bring the 
Comics to Life 


The Music of the Spheres 


Puzzles and Word Games 



Mars, NASA and Destination Moon 







Dear Reader, 

If you're not yet convinced that we're entering an age of science-fiction, skim 
the Log Entries in this issue of STARLOG. You'll find mention of 25 sci-fi 
movies that are either showing currently or in development. 

We devotees are in danger of losing our minority position! 

Just in the last month or so, I've watched TV showings of War of the Worlds, 
This Island Earth, The Stranger, Stowaway to the Moon, First Men on the 
Moon, and Invasion of the Body Snatc hers— plus the usual Trek and 1999 reruns. 
At theaters, I've seen The Man Who Fell to Earth, Embryo, Logan's Run, A 
Boy and His Dog, Food of the Gods, and The Big Bus— all of them first-run movitd. 

I feel like I've had a Krell brain boost. 

While I'm in mental high gear, allow me to offer a few thoughts about the 
directions this sci-fi renaissance might take. Subtitle the next paragraphs: 
science, symbolism, and seduction. It's about two distinct trends in sci-fi today. 

The Man Who Fell to Earth is visually appealing, but don't see it expecting a 
coherent story line. We never learn why the alien comes to Earth or what he 
hopes to accomplish. It has something to do with water, but what? The little 
ship he builds for his return is obviously no tanker. 

The recent film of Harlan Ellison's A Boy and His Dog (artistically successful 
on its own terms) has a look of clarity but a great vagueness of meaning. The au- 
dience is continually prompted to look for meaning and symbolism— in what is 
really a simple demonstration of the nature of love, told in the manner of dark comedy. 

Logan's Run has a clear plot, about an escape from an intolerable society. The 
vagueness here lies not in the adventure but in the background. Why are things 
the. way they are? Why do people believe as they do? What would be required for 
them to behave differently? (For some of the answers the film omitted, see page 17.) 

It looks now as if the best demonstration of the difference between stories that 
are clear and those that are only vaguely suggested will be Space: 1999. The first 
season of the popular TV series opted for visual excitement, questionable science, 
and nebulous stories. And it became a hit. For the second season, the producers 
hope to add story clarity and well-rounded characterization to the 1999 format. 
From the one episode I saw previewed, "Metamorph," I predict they will suc- 
ceed. (See page 32.) 

My point: accomplishing an aura of scientific accuracy is a breeze compared 
with adept storytelling. This is particularly true in the motion-picture (and TV) 
medium, where there is a natural tendency to minimize talk and maximize action. 
Unfortunately, when too much talk is omitted, the action becomes meaningless. 

The real challenge for the sci-fi screenwriter is to see that the minimal dialog 
conveys all the needed information and at the same time sounds natural. Inva- 
sion of the Body Snatchers did it, Stowaway to the Moon (a recent TV movie) 
did it, Embryo did it; it is possible! 

(Embryo was something of a dud in spite of its good dialog, clarity, and good 
acting— because it was just another rehash of the Frankenstein theme.) 

I'm haunted by something I read in The Making of 2001. Kubrick realized, 
when he saw the film, that the aliens he had fashioned out of gas jets looked like 
gas jets. So he cut them out and replaced them with nothing. By eliminating 
that single aspect, he removed the explanation for all the events of the movie. 

I wish he hadn't gotten away with it. I'm afraid the success of 2001 has en- 
couraged other producers to indulge in wishful thinking— to discount the im- 
portance of careful story-telling. 

Which way will our new age of sci-fi go? When the renaissance arrives, will we 
understand it? Or will we just sit back and look at the pretty pictures? 

David Houston / Editor-in-chief 


■ Phantom Lady's patriotism: "America comes first — even before 

■ Gene Tunney and Jack Dempsey pen mash notes to Sensation 

■ How a Ph.D. psychologist dreamt up Wonder Woman. Its strange 
psychosexual mix 

■ The first Tarzan story: 95,000 words written in longhand on some- 
body else's stationery by a 35-year-old pauper 

■ Plastic Man and Hugh Hefner 

■ Triumphant researchers unearth a pre-Disney Mickey and Minnie 

■ It came from Lafayette Street : the birth of Mad 

■ Comics Code Authority softens its stand against vampires and were- 
wolves, provided they are "used in the classic manner" 

■ Little Orphan Annie's radio boyfriend: Why Joe Cornstassle was 

■ Madam Fatal : here in drag 

■ Turnabout is fair play. "The Lonely Dungeon" (Mystery Tales 
^ 18) "proves" that the monster created Dr. Frankenstein 

■ New York Magazine brings back The Spirit 

■ The schizophrenia of the EC symbol: Education Comics (Picture 
Stories from the Bible) and Entertaining Comics (Haunt of Fear, 

Carl Barks' life at the Disney Studios: "I was just a duck man — 
strictly a duck man" 

[ ■ Radio at its best — the opening chant of Superman 

Comic book wartime slogan: "Tin Cans in the Garbage Pile Are 
Just a Way of Saying 'Heil!' " 

Well, it wasn't great literature (gasp!), 
but we all read it. On a lazy summer after- 
noon, the only sound heard in the land 
was the nipping of comic-book pages at 
Pop's soda fountain, or under the old elm 
tree (remember elms?). 

In The Comic-Book Book, popular cul- 
ture historians Dick Lupoff and Don 
Thompson continue the missionary work 
they began with the justly acclaimed 
pioneer volume, All in Color for a Dime. 
Aided by a crew of outrageously knowl- 
edgeable comic-book buffs and a batch of 
carefully chosen illustrations, they evoke 
the old magic— and also make some pene- 
trating, scholarly, nostalgic and wildly 
funny remarks on those never-to-be-for- 
gotten pleasures of our innocent youth. 

Chockful of vital facts about Young 
America's favorite reading matter, The 
Comic-Book Book is an entertaining and 
evocative excursion into memory landj 
and an important contribution to 
the study of pop culture. 


$ 7.95 

off the store price when 
you join the Nostalgia 
Book Club and agree to 
buy 4 Club books or rec- 
ords over the next 2 years. 




525 Main St., New Rochelle, N.Y. 10801 

I enclose $1. Please send The Comic-Book Book by Dick Lupoff and Don Thomp- 
son at no further cost and accept my membership in the Nostalgia 8ook Club. 
As a member I get to buy Club books and records about our happy yesterdays 
(1920-1955)-movies, radio, early TV, show biz. fads, fun-always at discounts 
of 20% to 89% plus shipping. I get a free subscription to the Club bulletin. 
Reminiscing Time, with data about new Club books & records plus news about 
fellow members and their hobbies. EXTRA! Personal service-just like 1939. No 
computers! My only obligation is to buy 4 books or records over the next two 
years, from some 150 to be offered-after which I'm free to resign at any time. 
If I want the Selection. I do nothing; it will come automatically about a month 
later. If I don't want the Selection, or I prefer one of the many Alternates, I 
merely let you know on the handy form always provided. I'll be offered a new 
Selection every 4 weeks-13 times a year. ST-100 



□ I don't care to join the Club but I enclose $8.95. Please send The Comic-Book Book postpaid. 
If not pleased I may return book in 30 days for full refund PLUS extra cash to cover my return 



When you see Futureworld— the new AI sequel to 
Westworld— you're going to find the settings thoroughly 
convincing and quite spectacular. No wonder— they're real. 
Much of the film was shot on location at the Johnson 
Manned Spacecraft Center in Houston, Texas, and in- 
cludes some exciting "settings" of our space program 
never before committed to film. 

A real Apollo Command Module and a full-scale mock-up 
of Skylab are used for key scenes, as are a number of the 
environmental test facilities— including the mammoth 
black, solar-hot and cryogenic-cold vacuum chamber 
capable of housing a whole composite space ship. 

The famous Mission Control at the MSC is used as the 
fictional Delos Central Control, from which the four 
"worlds" of the adult playground— Futureworld, Roman- 
world, Spaworld, and Medievalworld— are observed and 

In the story, Peter Fonda's character is replicated. In 
the process, several computer-image techniques are used 
which have never before been filmed. Special-effects man 
Brent Sellstrom (who also worked on Westworld) learned 
more than a smattering of computer science while working 
on the film. Techniques included painting Fonda white and 
projecting a grid of quarter-inch squares onto him. The 
three images— taken from three simultaneously active 35 
mm cameras— resulted in a "topographical map" of the ac- 
tor, which was then fed into the computer via electronic 
tablet and pen. 

The wild variations in picture you see when Blythe Dan- 
ner's character has her erotic dream fantasy were done by 
projecting the picture image onto a dish of mercury. 

What got Peter Fonda— of Easy Rider naturalism 
fame — into imaginative science fiction? Says he: "Seventy 
to eighty per cent of the books I read are science-fiction, 
so I was already heavy into reading it. When I read this 
script it seemed like it would be fun to do, and it has been. 
We get to play with all these fantastic gadgets and bounce 
around on the most incredible sets ever put on film." 


Ray Bradbury(77ie Martian Chronicles, It Came from 
Outer Space) and Norman Corwin had combined their 
talents to produce a series of 37 sci-fi radio dramas based 
on Bradbury short stories. The two pilot programs are to 
be aired over National Public Radio in September; they 
are: "Forever and the Earth" and "A Terrible Conflagra- 
tion, up at the Place." 


Bowie's "The Man Who Fell to Earth" is in current 
release— and garnering controversial reactions and re- 
views. Not one to wait for final results to come in, the 
natural-born alien is hard at work on his second sci-fi en- 
try: Zero Hour, which will be made by British Lion Films. 


When the conventioneers spearheading the July-August 
Star Trek meeting in Maryland took a poll, they found 
that Nick Tate was the hands-down favorite cast member 
of Space: 1999. They invited him to attend; he accepted, 
flew over from London (where Space: 1999 was then film- 
ing the 15th episode of the new season), and stopped off 
briefly in New York. 

Independent Television Corporation, syndicators of the 
show, made him guest of honor at a press luncheon, on Ju- 
ly 27. Nick was in appreciative company: the press con- 
sisted of writers from Galaxy, Fantasy & Science Fiction, 
The Monster Times, Starlog, and other publications in the 
sci-fi field. 

The 34-year-old Australian actor cheerfully answered 
questions on the show, his career, and his life. 

Asked to clarify the rumor that he was nearly dropped 
from the show, he said, "I heard that rumor too." Actual- 
ly, he said, since there was nearly a year between filming 
the two seasons, he had been away doing other projects 
and had made some commitments that might have con- 
flicted with Space: 1999. "But I'm happy to say that they 
did not." One of those projects, a starring role in a movie, 


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ITC's Murray Horowitz with Nick Tate. 

The Devil's Playground, won him 1976 Australian Best 
Actor of the Year. 

Tate's fan mail— around 5,000 letters a week— comes 95 
per cent from young women, he confessed with a delighted 
half-smile. He said he answers as many as he can, but that 
it turns out to be a small percentage. 

Asked how much Alan Carter is really like Nick Tate, 
Nick replied that since the character had originally been 
conceived to be an Italian, he had pretty much patterned 
Alan Carter after himself. Concerning a suggestion that 
the show's new actor, Tony Anholt, might be usurping 
some of Alan's air time, Nick said that no, the roles are 
fully differentiated and that "Tony and I get along fine." 

Concerning the show's famous special effects: "It's fan- 
tastic to have that kind of support." He said it makes the 
actor's task simpler if the visual representation is fully be- 
lievable. Just recently, he related, a fire was so realistic 
that the set actually began to go up in flames. Firemen 
had to be called upon to save the set. 

Nick, who does all his own stunt work, said that from 
time to time people actually do get hit in the fight scenes; 
but it's worth it for the realism. 

A "moderate" science fiction fan himself, he said that 
his favorite episodes ("This is a very subjective judge- 
ment") of the first season included "Full Circle " and 
"Another Time, Another Place." He already has a favorite 
from the new season: "Journey to Where," in which Alan 
finds himself on Earth during the 14th Century. 

"This is the first international break I've had," Nick 
said about his new-found popularity. 

Although the changes in story and format for the se- 
cond season really don't affect him much, Nick said, "I'm 
positive the changes are for the better." 


The script for the new Paramount/Universal remake of 
When Worlds Collide will be penned by Anthony Burgess, 
it has just been announced. Producers are Richard D. 
Zanuck and David Brown. It was previously announced 
that Jaws director Steven Spielberg would direct Worlds; 
but now that plans are firmer, John Frankenheimer has 
been assigned to the task. Production is to begin early in 
1977. The film will be based (as was the George Pal ver- 
sion produced in 1951) on the 1932 novel by Philip Wylie 
and Edwin Palmer. 

STAR WARS Twentieth Century-Fox is currently completing the film- 

ing of their latest science fiction blockbuster, Star Wars. 
Without any parts of the film even previewed yet, some 


critics have already heralded Star Wars as, "... every- 
thing in science fiction you've always wanted to see on the 
screen but knew no one would ever put there." 

Star Wars is written and directed by George Lucas, the 
man responsible for THX 1138 and American Graffiti. Pro- 
ducer Gary Kurtz, working with an $8,000,000 budget, has 
taken Star Wars on location to both Tunisia and London. 

Star Wars is about a galaxy-wide civil war set in the dis- 
tant future when Earth and its past have been entirely 
forgotten. Sir Alec Guinness plays an old renegade who 
was a great general in the first Galactic Wars. Mark 
Hamill plays the film's starring role, Luke Starkiller— a 
young adventurer. 

Stuart Freeman, the man who designed the spectacular 
ape costumes for 2001: A Space Odyssey, has created 
several alien designs and makeups for Star Wars ' large 
cast. In addition to its basic science-fiction format, Star 
Wars will also contain elements of fantasy. 

Star Wars reportedly won't be ready for release until 
early 1977, but for those of you who can't wait that long 
to find out more, Ballantine Books plans to put out a 
novelization of the movie in bookstores sometime this fall. 


For those of us in and around Manhattan during the 
week of June 21st, the demise of the greatest of movie 
apes was a rare treat. For several nights running, search- 
lights and spotlights created a peculiar glow on the clouds 
over the World Trade Center in the usually-dark Wall 
Street area. Dino DeLaurentiis was here on location film- 
ing the finale of his new Paramount updated version of 
King Kong. 

Although his original plan to perch the giant full-scale 
model of Kong atop the twin towers proved impracticable, 
DeLaurentiis nevertheless pulled off one of filmdom's 
greatest coups: 

The crowd scenes at the end of the movie have the 
largest number of people ever assembled for such a pur- 
pose. An estimated 45,000 spectators showed up on the 
plaza of the Trade Center. They were prompted by full- 
page ads that appeared in many local newspapers; and in 
responding, they allowed themselves to be used as unpaid 

The old record of 25,700 extras was set by Cecil B. 
DeMille during the filming of The Ten Commandments. 

Certainly Paramount and DeLaurentiis got tremendous 
mileage out of the publicity generated by the event. In ad- 
dition to the news stories of the filming, there was addi- 
tional press about Paramount's battle to gain permission 
to erect yet another Kong model in Times Square— where 
it would stand through the premiere of the film on De- 
cember 22. The proposed model would have a crumpled 
helicopter in one hand and an hysterical lady in the other. 

This Times Square version of the ape was to be a mere 
35 feet high— rather than the 40 feet of the filming model 
used at the Trade Center. The specifications called for it 
to be capable of withstanding 100-mile-an-hour winds; it 
would be surrounded by a 10-foot-high fence and guarded 
by security cops around the clock. 

Everything was going smoothly until the City Council 
decided that the stunt might just be a bit too self-serving 
for Paramount, and voted 20-3 not to grant the permit re- 
quested. Permit was denied in spite of Paramount's will- 
ingness to renovate the pedestrian island on which the ape 
was to stand after they had removed the thing. 

Not to be outdone in the self-serving department, how- 
ever, several city fathers indicated that a permit might be 
granted after all if Paramount were to "donate" a tidy 
sum to be used in the area for other renovations. A figure 

(Continued on page 53) 


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Above: The lithium cracking station 


heroes but also succeed in projecting 

from "Where No Man Has Gone Before," the 
second Star Trek pilot. The effects 
were very good for TV at that time. 

Below: Roddenberry outside his 
mountaintop residence in L.A. 

G.R.A.S.— The Gene Rodden- 
berry Appreciation Society — is un- 
doubtedly the first nationwide 
official fan club devoted to a tele- 
vision writer and producer. G.R.A.S. 
is not a Star Trek club and not a club 
devoted to any stars of the show. 

Roddenberry receives several hun- 
dred pieces of mail per month — mail 
that expresses appreciation for 
Roddenberry's many ventures: for 
Star Trek, for Genesis II, for The 
Questor Tapes, for whatever tales of 
excitement and imagination he is or 
has been connected with. 

This inventive, intelligent, coura- 
geous man has answered a need in 
the rather bleak esthetic world of the 
mid-Twentieth Century. He is 
almost the only creator who has been 
serious in his presentation of heroic 
men and women; and he is virtually 
alone in his projection of man's fu- 
ture as an improvement over the 
world of today. 

It is easy both to congratulate the 
man and to wonder in dismay why 
there are so few like him. It makes 
one wonder: what sort of person is it 
who can not only retain his belief in 

those beliefs publicly, in a culture 
still dominated by an anti-hero 

Roddenberry has always been a 
man of both action and intellect. In 
fact, his adult life can be divided in 
two: we can characterize him as two 
radically different people and see 
that it is a melding of the two that 
best explain this extraordinary man. 

Gene Roddenberry number one: 

An avid adventurer from child- 
hood, young Gene joined the Air 
Force during World War II and 
served as a B-17 pilot in the South 
Pacific. He flew 199 missions and 
was a survivor of a crash that 
demolished his plane. 

Undaunted, he became a commer- 
cial pilot for Pan Am after the war. 
He flew the India-Istanbul run and 
was piloting the day that line 
suffered an historic disaster. He was 
one of only seven survivors and was 
given the Civil Aeronautics 
Authority's highest commendation 
for his heroic action during the 

In an abrupt shift in career direc- 
tions, he joined an even more 
dangerous profession: he became a 

It is an unusual man who can preserve his vision and 
moral sense— when all about him are losing theirs— 
and an even rarer man who can develop the skills 
that allow him to share his vision with others. For 
the invention of Star Trek— a show that has given 
the world back its optimism and its youth— what 
was needed was . . . 

Two men in one: 


rookie with the Los Angeles Police 

He handled every imaginable 
police assignment, from traffic con- 
trol to narcotics cases. From 1948 to 
1953, he came to be regarded as an 
expert in. narcotics and drug 

In 1956, Gene Roddenberry 
became a successful television writer, 
earning more than four times what 
his job as a narco cop had paid him. 

He had married Eileen and 
became the father of two daughters, 
Darlene and Dawn. 

Gene Roddenberry number two: 

An avid reader, able to keep to 
himself happily, young Gene dis- 
covered and fell in love with science 
fiction when he was in junior high 

Literature became more than a 
casual hobby to the young man, and 
he turned to romantic classics. His 
favorite adventure series to this day 
are the Horatio Hornb lower stories 
by C.S. Forester. 

In the late 1940's, Gene began to 
feel that he had a viable talent for 
writing and was particularly 
interested in writing for the 
promising new medium: television. 

Gene Roddenberry working at his desk, hopefully on another 
script of the new Star Trek movie. The model of the U.S.S. . 
Enterprise on the desk was one of those used in the series. 


Roddenberry's love of adventure 
has taken him from being a pilot 
to the Los Angeles police depart- 
ment to producing for television. 

He began to write in earnest. His 
first efforts were articles for 
magazines, but eventually he began 
to turn in outlines and completed 
scripts to the television offices open- 
ing up in Los Angeles. 

His first sale to television came in 

Then came a sale to Chevron 
Theater — a science-fiction adventure 
called The Secret Defense of 117, 
which was produced starring 
Ricardo Montalban. 

Other TV producers saw Gene's 
work; soon he was writing for the 
best: Dragnet, Four Star Theater, 
West Point. Eventually he was 
offered the job of head writer for 
Have Gun Will Travel. 

One of his Have Gun scripts, 
Helen of Abajinian, earned that 
year's Writer's Guild Award for best 

In 1963, Roddenberry — now one 
of the top television writers — became 
a producer. 

He moved into offices at MGM 
and started production on a series 
which he himself had created: The 

Gene began his writing career by 
contributing articles to magazines 
and later wrote for top television 
shows. He then turned to produc- 
tion with his series The Lieute- 
nant before going on to Star Trek , 

By the time his season with The 
Lieutenant was drawing to a close, 
he had developed the first threads of 
a complex TV series idea: setting an 
Horatio Hornblower-type character 
within the science-fiction framework 
of what was described in its early 
outline as a "wagon train to the 

He called the idea Star Trek. 

Today, Gene Roddenberry 
(numbers one and two combined) 
lives an active, creative life on his 
mountaintop in a Los Angeles 
canyon, which he shares with second 
wife Majel and the beginning of his 
second family, two -year-old Gene, Jr. 

His adventurous side enjoys flying, 
boating, motorcycles and swimming, 
while his intellectual side writes 
screenplays for movies and tele- 
vision — usually involving the elabor- 
ate inventiveness required to create 
whole new universes — and is at work 
on a first novel. 

His visual creativity finds an outlet 
in jewelry design and, according to 
Stephen Whitfield (in The Making of 
Star Trek): "More than once, Gene's 
sense of design and intuitive feeling 
for the harmonious blending of 
colors have been employed in main- 
taining the excellence for which Star 
Trek has been noted." 

For Star Trek to be created, there 
had to be a man whose inner life was 
not a battlefield — whose intellect 
and sense of adventure were not in 

It took a renaissance man. ^ 


The Star Trek movie 

It's untitled, unwritten, and uncast — 
but it's about to go into orbit! 


Surely there's no more anxiously 
awaited event in the sci-fi world than 
the Star Trek movie. It has been an 
on-again, off-again project. The 
originally announced filming date- 
July 15, 1976— came and went, and 
Star Trek fans worldwide began to 
worry whether or not the movie 
would ever be made. This is what 
happened and how things stand now: 

When Paramount Pictures an- 
nounced they would be producing a 
Star Trek movie for theatrical 
release— nearly a year and a half 
ago— Gene Roddenberry immediate- 
ly began work on possible screenplay 
ideas. His first was one concerning 
the formative years of the charac- 
ters—their days at the Space Acad- 
emy, their first assignments, their 
coming together to man the Starship 
Enterprise, and the construction and 
launching of the UFP Starfleet. 

This idea never made it to the sub- 
mittal stage. The first script Rod- 
denberry completed was on a dif- 
ferent subject— and was rejected. 

"The first script," Roddenberry 
recently explained, "was a story that 
dealt with the meaning of God. What 
I think bothered Paramount was that 
I had a little sequence on Vulcan in 
which the Vulcan masters, the people 
Spock studied under, were saying: 
'We have never really understood 
your Earth legends of gods. Particu- 
larly in that so many of your gods 
have said, "You have to bow down on 
your bellies every seven days and 
worship me." This seems to us like 
they are very insecure gods.' " 

The film's largest problem at this 
point is that Paramount still has not 
approved any of the screenplays or 
outlines that have been written. Both 
Robert Silverberg and Chris Knopf 
have written full screenplays; and 
Harlan Ellison, Dick Simmons, and 
Theodore Sturgeon have written out- 
lines. All of them have been rejected 

by Paramount. 

In an attempt to get the produc- 
tion off the ground, Roddenberry has 
completed yet another story treat- 
ment which will soon be shown to 
Paramount executives. Aside from 
the fact that this new story takes 
place five years after the Enterprise's 
"five-year mission to seek out and ex- 
plore ..." no information is 
available concerning plot. 

According to Susan Sackett, Rod- 
denberry 's secretary (and an ac- 
complished writer herself), Gene is 
now deciding on just one writer— a 
skillful and highly experienced 
screenwriter— who will develop what 
will be the film's screenplay— just in 
case Paramount decides not to use 
Gene's latest treatment. 

The film— budgeted at a big 
$5,000,000— is now to start shooting 
in January. 

The television series had special ef- 
fects that were quite good for its 
time, but there were unfortunate 
limitations both in budget and the 
small-screen format. The movie ver- 
sion will show considerable improve- 
ment in the effects department— due 
to the large production budget and a 
new process called Magicam. 

Roddenberry* told New York re- 
porters about the new process: 

"Magicam is basically two camer- 
sas that are synchronized perfectly 
with one another. There's one huge 
one with which you photograph ac- 
tors in a blue background [this is 
essentially the television Chroma- 
Key process] which will disappear 
when you blend it with the other 
camera which is shooting a minia- 
ture. The actors are then keyed where 
to walk, what t.o touch, and so on, 
and they then appear to be walking 
through the miniature set. This 
enables us to build a whole ten miles 
of miniature city for considerably 
less cost than you could build a real 
one— and that's a big advantage. 
Sometimes, though, Magicam 

doesn't work out. For instance, if we 
do the bridge of the ship, I would not 
want it to be done in that process 
because I want a real set so that the 
actors can relate to their instrumen- 
tation and so on by actually seeing it. 
I'll use Magicam in the movie only to 
the point where it stops being better 
than film." 

The original settings created for 
the television show, incidentally, 
have been destroyed. New Enterprise 
settings will be built and will be 
designed in much greater detail than 
was needed for TV. 

All of the Star Trek original cast 
will be back to make the feature film, 
if all are available and if all will agree 
to the contracts Paramount offers 
them. At this point, negotiations are 
still in progress to secure the services 
of William Shatner and Leonard 

Roddenberry told STARLOG that 
he wants to use not only the original 
actors but the production people as 

"I'd like to use all of the original 
production people on the film. People 
like Fred Phillips with makeup, Matt 
Jeffries with set design, Bill Theiss 
with clothes design, and all the 
others. I thought they were the best 
when we were first doing Star Trek, 
and I still do now. I think the story 
with them is the same as it is with the 
actors. If available, they'd all like to 
do the film." 

Roddenberry will be producing the 
Star Trek movie under executive pro- 
ducer Herry Isenberg, a man who has 
spent many years working in televi- 

Many Star Trek fans remain 
doubtful that there will be a Star 
Trek movie, and Roddenberry admits 
that the production has already suf- 
fered several setbacks. Yet when 
asked if he believes we will ever see a 
full length Star Trek motion picture, 
Roddenberry answers quite simply, 
"Tmpositive." -fa 



"There is no TV in Sri Lanka, 
so I have no chance of seeing 
Star Trek. But I did enjoy many 
of the earlier episodes and had 
an interesting meeting with 
Gene Roddenberry when we 
were both on a TV show in Tuc- 
son a couple of years ago. 

"The durability of Star Trek 
and its fans is certainly a most 
interesting phenomenon, worthy 
of a sociological study! 

"Gene did a remarkable job 
before exhaustion, over- 
exposure, and network idiocy 
scuppered the series. He must be 
a masochist to keep trying! 

"I think I am happier to be 
living in a country with no TV 
rather than commercial 
TV— though perhaps a judicious 
mixture of both commercial and 
public is the best thing." 

Arthur C. Clarke 

(Inventor of the "fixed" com- 
munications satellite, author of Ren- 
dezvous with Rama, 2001: A Space 
Odyssey, and Imperial Earth. ) 

"City on the Edge of Forever, 
a Harlan Ellison story. I 
thought that was one of the bet- 
ter shows that we did ... I liked 
Metamorphosis, and I thought 
Miri was a good show. 
Tomorrow is Yesterday, a 
Dorothy Fontana script ... I 
thought it was one of the best." 

DeForest Kelly 
("Dr. Leonard McCoy") 

"Star Trek was the hardest 
series on the air to write for. Too 
many professional TV writers 
didn't understand science fic- 
tion—they couldn't handle the 
format. They didn't realize that 
science fiction is more than just 
a western with ray guns." 

David Gerrold 

(Author of The Trouble with Tribbles) 

"We get more mail and phone 
calls on this show than any 
other show we've ever had on 
the air. When the program is on 
the schedule and we preempt it 
for a special, our switchboard 
gets so overloaded we can't han- 
dle all the calls." 

Program Director, Channel 13, Los 

"Star Trek . . . the most 
sophisticated example of science 
fiction on the television screen." 
Isaac Asimov 
(Science and science fiction writer) 

"The interest in the show is 
greater now than it was last 
year, or for that matter, when 
the show was on the air in prime 
time. ' ' 

Gene Roddenberry 

(Susan Sackett's boss) 

"The numbers keep growing 
geometrically, while the stories 
get older and older. It's really 
bizarre. The fans have gone to 
such great lengths to keep the 
show alive. They've written 
thousands of letters and the 
business of selling Star Trek 
books, magazines, bumper 
stickers, spacecraft models and 
props, T-shirts— you name 
it— has grossed millions of 
dollars nationwide. There hasn't 
been a campaign like it since 

George Takei 

("Helmsman Sulu", from an interview 

in the New York Daily News, March 2, 




"The day Star Trek was can- 
celled, I could have cut off heads 
at the network. It was a mar- 
velous show." 

Rod Sorting 

(Late creator of The Twilight Zone and 
Night Gallery) 

"Reasons for the show's 
popularity are many. It offered 
good plots— many of them 
highly imaginative, and scripted 
by leading science fiction 
writers— as well as action, ad- 
venture, and the use of highly 
technical and sophisticated 

David Shuit 
(In The Los Angeles Times) 

"It blows a lot of corporate 
minds when executives pass by 
my office at 6:30 p.m. and see 
Captain Kirk coping with 
Klingons rather than seeing the 
6 o'clock news on my monitor. 
Towards the end of what is 
usually an incredibly hectic day, 
escaping aboard the U.S.S. En- 
terprise is a welcome relief." 

Linda Allen 

(Executive Producer, WCBS-TV, New 

"The Star Trek cult is based, 
in my opinion, on four things: 

1) Young people of intelligence 
who are concerned with our 
world and with their own lives 
are naturally interested in sci- 
ence fiction, since this is the only 
form of fiction that deals with 
the future and with change— and 
it is in a changed future that the 
youngsters will mature. 

2) There was enough respect for 
science in the program to give it 
the support of the more 
sophisticated portion of the 
science fiction audience— who are 
the opinion-makers. 

3) Many Star Trek episodes 
dealt with ethical problems that 
were resolved in humane 
fashions. Even a 'monster' was 
viewed sympathetically when 
she turned out to be a mother 
protecting her child. 

4) There were interesting, 
idiosyncratic, and sympathetic 
characters about whom one's 
feelings could crystallize." 

Isaac Asimov 

(Excerpt from Cue magazine) 

"I for one refuse to believe 
that an enterprise so well con- 
ceived,, so scrupulously 
produced, and so widely loved 
can stay boneyarded for long. 
And I have 1,898 letters from 
people who don't believe it 
either. ' ' 

James Blish 

(Late British science fiction writer, from 

the introduction to his original Star 

Trek novel, Spock Must Die) 



... I thought your new magazine to be 
quite a relief after trying to save TV 
Guides in order to have a small descrip- 
tion of each Star Trek episode ... I do 
have two comments (or corrections) about 
your book. In the Bionic Woman section, 
Jamie Sommers' name was spelled 
"Jaime" each time, and it made me pause 
a moment to read it. Also, in the Star Trek 
filmography, the picture on page 52 is 
from "Mirror Mirror" not from "The 
Naked Time," and it is backwards. Also, 
both pictures under "Mirror Mirror" were 
backwards— in addition to the top picture 
on page 42. 
Bob Nocero 
Orlando, Florida 

There were indeed mistakes in the spell- 
ing of the name in the Bionic Woman ar- 
ticle, but oddly enough, it is Jaime Som- 
mers— probably because it comes from a 
real-life woman who spells her name that 
way. But you're absolutely right about the 
Star Trek pictures. We realized the films 
had been "flopped" when it was too late to 
have them reprocessed. It had to do with 
emulsion being on the wrong side of dupli- 
cated slides— and things like that. We had 
to run them reversed or not at all. Our only 
excuse for running the "Mirror, Mirror" 
picture with "Naked Time" is abject 

... I have never found out what the let- 
ters NCC stand for on the USS Enterprise 
NCC- 1 70 1 . Do you know? 
Bryon Cannon 
Hutchinson, Kansas 

That's the Naval Construction Contract 

... In the book The Making of Star Trek 
by Stephen E. Whitfield, the episode en- 
titled "Friday's Child" is listed as being 
aired on March 22, 1968. In your maga- 
zine, the same show is listed as being 
shown on December 1, 1967. I am not a 
member of that group known as "Trek- 
kies," but I would like to know which 
viewing date is correct. 
Bryan Reese III 
Tampa, Florida 

"Friday's Child" probably was originally 
scheduled for airing on March 22. But, in 
fact. Star Trek was pre-empted that night 
by a special on the Ringling Brothers cir- 
cus. In reshuffling their schedules, 
"Friday's Child" ended up on the earlier 
air date, December I. By the way, it was 
one of five episodes which never made the 
reruns that season. 

. . . Being in Colorado I have never had a 
chance to go to a Star Trek Convention in 
order to obtain the information that I 
seek. I want to obtain internal diagrams 
of the Starship Enterprise. 
Jack D. Heidrick 
Brush, Colorado 

Those diagrams have been published and 
are now available in bookstores. If your 
local outlets aren 't carrying them, get a 
store to order you a set from Ballantine 
Books (these are full-sized, fold-out 
blueprint mechanicals, not book pages). 
Cost: $5. 


... I am the only person I know who is 
really interested in science fiction or Star 
Trek. I have no real close association with 
an organized group. I belong to one fan 
club that sends me a pamphlet every 
other month, but I think that is more for 
people younger than myself (I am 16). 
Anyway, it might be a good idea to give 
us a little more information on how to get 
in touch with clubs and other fans. 
Frances J. Rushton 
Dothan, Alabama 

Boy, do we sympathize with you! Both of 
STARLOG's editors grew up in little 
Texas watering holes and had very little 
in common most of those around us. Cer- 
tainly—we'll be printing as much informa- 
tion on fan clubs and the like as we are 
able to get. And be patient. Someday 
you'll never have to look at another pea- 
nut. (Dothan is the peanut capital of the 

SPACE: 1999 

. . . One of the things I noticed immediate- 
ly was your very optimistic approach to 
all the new movies you told us about. I 
thank you for the encouragement. But I 
am forced to tell you that I sincerely feel 
you handled the Space: 1999 article all 
wrong. You were optimistic about every- 
thing—except 1999. To be quite honest, I 
was very upset to read of the changes 
that were coming up. I hope Gerry and 
Sylvia Anderson do not end up ruining a 
very successful show. 
Doug Neal 
Kalamazoo, Michigan 

Maybe it was our fault, but you 
misunderstood the intent of that article. It 
too was intended to be optimistic- 
expressing a hope that a hit show could be 
made even better, and congratulating the 
producers for trying. 

. . . Your article on Space: 1999 was terrific 
although it was small and short. I loved it 
anyway. I'm writing to get information 
about (1) the address of any Space: 1999 
fan clubs, and, if there are none, informa- 
tion on how to start one; (2) how to get 
the stars' addresses; and (3) how to get 
photos, stills, posters— any kind of 
Mike G. Monroy 
Bossier City, California 

Luckily, your three questions all have the 
same answer: write to Space: 1999, In- 
dependent Television Corp., 555 Madison 
Avenue, New York; New York 10022— at- 
tention Joe Fusco. Joe was telling us just 
the other day that some clubs are now be- 
ing formed. 


. . . Being a die-hard Star Trek conven- 
tioneer, I couldn't help but notice the 
piece entitled "The Conventions as 
Asimov Sees Them." Was this not strik- 
ingly similar to something he wrote for 
one of the convention programs? 
Robert Austin 
New York, New York 

Isaac Asimov's delightful article on 
attending Star Trek conventions was 
indeed an updated version of a piece he 
originally wrote for The International 
Star Trek Convention 1973 Com- 
memorative Program. Copies of that sou- 
venir book are being sold via mail order by 
Tellurian Enterprises and at many Star 
Trek cons. 

. . . One thing I missed in your last issue 

was news of Conventions. Can't you keep 

us up to date on the cons— Star Trek and 


Aeron Copelin 

Los Angeles, California 

Indeed we van. We plan to print notices of 
conventions and fan meetings worldwide. 
In fact, we should announce here that we 
hope convention committees and fancluh 
president wilt write informing us of their 
activities, so we can in turn keep our 
readers better informed. 


. . . This is just a brief letter Lo let you 
know how very much I enjoyed your new 
production, STARLOG. I especially en- 
joyed the Star Trek collection and the in- 
terviews. Just to poke fun, however, at 
your resident "expert" on the word- 
builder puzzle, here is my list for his 
TRJ HULKS: list, tile, isle, sire, slit, silt, 
West, islet, stile, best, bite, lest, rise, stir, 
bible, blister, istle, tribe, bier, rest, reis, 
rite, serb, bister, bribe, lister, bestir, bile, 
erst, tire, site, tier, bleat, bristle, liter 
rile . . . 

Eslelle Spears 
Washington, D.C. 

Gulp, Our "expert" —whom we apparent- 
ly overestimated— said you should find 14 
such words. Our readers— whom we ap- 
parently underestimated— have deluged 
us with lists like yours. 

... In your premiere issue of STARLOG, 
you had an anagram puzzle of a Star Trek 
term. Number 32 is supposed to be 
"Metamorphosis" but the clue, SHORE 
MOIST MOP, does not contain an A. I 
think it is a misprint. 
Gail Abbott 
Belpre, Ohio 

Right you are. It should have been 


We're flattered that so many readers have 
complained about waiting three months 
between issues of STARLOG. Good 
news— we have stepped up our schedule 
as much as possible, while still taking all 
the time it requires to assemble the 
photos, art, stories, and other editorial 
materials necessary to maintain the quali- 
ty level of STARLOG. Watch for our next 
issue, NUMBER 3, to go on sale at 
newsstands around the country on 
Tuesday, November 23rd . . . that's the 
week of Thanksgiving Day. Keep those 
nice complaints coming. 

Send your comments, questions, and com- 
plaints to 

180 Madison Avenue, Suite 1503 
New York, New York 10016 


In the premiere issue of STARLOG, we asked our readers to send in a 
questionnaire. As an added inducement, we announced a drawing of 
twenty-five of the questionnaires. Those drawn would win a free copy of 
STARLOG #2. And for those who had it together enough to answer (cor- 
rectly, of course) the STARLOG Trivia Question, we offered a full year's 
subscription. We cannot offer this kind of prize each time, but we 
sincerely hope that you will continue to write and let us know what you 
like, what you don't like, and what you would like to see in future issues 

The trivia question was: 

"On the back cover of this issue, Lindsay Wagner is accompanied by 
what actor? . . . and what was the name of that episode of The Hionic 

Many people guessed the actor's name: Andy Griffith. What stumped 
a lot of folks was the title of the episode. Some wrote that the episodes 
were not named (wrong!); some simply guessed (with some very good, in- 
correct titles); and some described what happened in perfect detail, but 
could not remember that it was called "Angel of Mercy." The winners 
are listed below with those winning subscriptions noted with a star (*): 

Scott Gamble 
Columbia, Alabama 

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Redmond, Washington 

*Joe Thomas Cooper 
■lackson, Mississippi 

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Han Antonio, Texas 

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Worlhington, MinnesoLa 

Billy Meadows 
Charleston, West Virginia 

Tracey Tyler 
Appleton, Wisconsin 

John D 'Amanda 
Miami Springs, Florida 

Teresa Diaz 
Deatsville. Alabama 

Tom Smith 
llaworlh, New Jersey 

Kddie Armstrong 
Bay shore, New York 

*Shane Shelienbarger 
Phoenix, Arizona 

*S.T. Robinson 
Frankfort, Kentucky 

Charles S. Farriss 1 1 1 
(iaffney, SouLh Carolina 

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Let us hear from you 

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Mail to: STARLOG Magazine 

180 Madison Avenue, Suite 1503 
New York, N.Y. 10016 

(2) My three favorite magazines are 

(1) My age is. 

(3) My favorite article in this issue of STARLOG is 

(4) My least favorite feature in this STARLOG is 

(5) In future issues of STARLOG, I would enjoy seeing the following 
subjects, personalities, writers, movies, TV shows, etc. 

Don't want to cut this page? Write on a separate piece of paper. 

Exploring Logan's 
23rd-Century World 

The Complex society depicted in MGM's new 
Logan's Run is often visually breathtaking. But 
the situations sometimes are only partially repre- 
sented. One is left hungry for more data and more 
meaning. Sometimes the information is there— but 
is glossed over so parenthetically that it fails to 
register. We here present a detailed excursion 
through Logan's world— stressing the delicious vo- 
cabulary developed for the novel and the film, and 
with material added from the novel to make the 
MGM world of the future more fully intelligible. 



It's a world of full employment, 
stable population, plenty of eco- 
logically balanced (vegetarian) food 
for all, freedom from political up- 
heaval, freedom from family en- 
tanglements, with sex the national 
pastime . . . and it's only for the 

In the 23rd-Century world of 
Logan's Run, life is terminated 
automatically at age thirty— to make 
way for new citizens. There is no 
religion and hence no morbid super- 
stition regarding death. But Logan 
(Michael York) does not want to die. 
He, and others like him, run— in an 
attempt to escape the inevitable. 

How did such a world come into be- 
ing? The movie offers no clue; but the 
novel— by William F. Nolan and 
George C. Johnson— explains that 
toward the beginning of the 21st Cen- 

Michael York (Logan) travels with 
Jenny Agutter (Jessica) via maze 
car through a confusing network 
of transparent tubes. All one needs 
to do is to tell The Thinker, the 
central computer, one's destination. 

tury, there was a "Little War"— 
which wasn't a war at all. Its roots 
were in a period of student unrest 
combined with a population explo- 
sion and resultant famine. 

The students who rose to power im- 
posed their own solution: zero 
population growth accomplished by 
the thirty-year limit upon age. 

Computer technology had reached 
such a highly-advanced state that all 
the functioning of the society could 
be placed in the hands of The 
Thinker— a vast computer complex 
that substituted for constitution, 
congress, and courts of law. 

Logan lives in a world of absolute 
pleasure— and enslavement to a ma- 
chine. (Incredibly, this is never 
spelled out in the movie; one can easi- 
ly imagine human rulers off-screen 
somewhere acting as present-day 
programmers of the computer 

Living in massive hermetically 
sealed, pollution-free domes, the 
citizens' only awareness of time and 
date come from: the lifeclock in the 
arcade (the social center of town), and 
the timeflower— which is implanted 
in the palm of each new-born baby, 
and which is worn throughout life. 

The timeflower is a radiant crystal 
that changes color to denote the 
allowable stages of life: white from 
infancy to age 8, yellow from 8 to 15, 
green from 15 to 22, and red from 22 
to ten days before one's thirtieth 
birthday. For the last ten days, the 
timeflower blinks until lastday when 
it turns symbolically black. 

Babies are conceived by seed- 
mothers, but the embryo is then in- 
cubated and raised in nurseries. The 
babies are handled by robots called 
autogovernesses and are given a 
sense of humanity in louerooms. 

In line with the pleasure- 
orientation of this youthfully 
designed culture, there are drug 
shops, love shops (for anonymous 
promiscuous sex), and a plastic sur- 
gery center called the New You Shop. 

In the New You emporium, laser 
surgery is performed on an aesculaptor 
equipped with a cryojector servicer. 

Right: For Logan's Run's "futuris- 
tic" interior settings, the cast 
and crew went to an actual location. 
These scenes were filmed inside a 
new shopping mall in Dallas, Texas. 

...,.._. , , 4 




Below: As the "perfect" society of 
Logan's world begins to crumble, so 
does the physical world. The her- 
metically sealed domes over the ci- 
ty explode— leaving the people to 
find maturity and a natural death. 

Above: In one of the most sensation- 
al scenes in the film, 30-year-old 
Lastday celebrants are cheered on 
by the spectators as they are spun 
upward toward renewal at Carrousel. 

Power for the city is produced by a 
hydro-galvanic system which 
harnesses the energy of ocean waves. 
The system is maintained automa- 
tically, via the age-old method pro- 
grammed into The Tfcinker. 

The established order seems 
perfect, immutable, and inescapable. 
But there are those who do not suc- 
cumb to the planned order. Criminals 
and misfits are not uncommon. And 
at each lastday ceremony in the Car- 
rousel arena, runners can be an- 
ticipated. Runners reject the state's 
right to take their lives and attempt 
to escape to the imagined safety of 
Sanctuary. (In the book only, Sanc- 
tuary exists as an "underground" 
society situated at an abandoned 
space station near Mars.) The run- 
ners believe that the promise of life 
renewal— years added to their 
allowable life span— at Carrousel is 
but a cruel hoax; death is inevitable. 

In a display of pageantry and al- 
most mystical liturgy, citizens of 
lastday dress all in white, including 
face masks that make the partici- 
pants anonymous to the watching 
crowds, and enter an elaborate en- 
closure that spins the participants 
upward toward a rainbow ring and 
"life renewal." It's a stunning effect 

in the film! And appropriately chill- 
ing as the crowd cheers the partici- 
pants on with gleeful enthusiasm. 

There are other notable spectacles 
in this MGM city of the future. Maze 
cars move through transparent tubes 
under air pressure and transport cit- 
izens at high speeds throughout the 
vast modern domed city. Directions 
are given to the maze cars by voice 
command, and The Thinker handles 
movement and switching. 

The Thinker also operates the 
numerous scanners that can examine 
any object or person to determine its 
history and identity. 

The most photographically revolu- 
tionary scene is that in which Logan, 
under interrogation, has his mind 
fragmented into six separate parts 
and images. Through the use of ac- 
tual holograms, we see Logan per- 
forming seven different speeches at 
tha same time, with each facsimile ac- 
ting independently. 

The movie offers no explanation for 
the Ice Room— a weird and frighten- 
ing surrealistic setting in which our 
heroes find themselves. In the novel, 
it is an ironic penal institution called 
Hell— situated in the Arctic Circle 
and made more grotesque by the ex- 
istence of the half-man, half-machine: 

Box. It is Box' function to carve 
beautiful statues in the ice for all 
there to "enjoy"— to make the starv- 
ing freezing prisoners suffer their 
loss of civilization even more. The 
runners arrived there by making a 
wrong turn in their escape route. 

The key to the movie's climax was 
also left out: the fact that a single 
well-placed blast of a ray gun could 
bring the walls tumbling down— if 
that shot were to destroy The 

The most regrettable omission 
from the movie is the book's theme. 

The film merely said that it is in- 
human to destroy people against 
their will 3 and perhaps without then- 
knowledge, at the age of thirty. The 
novel, on the other hand, stressed the 
loss to society of maturity— the in- 
tellectuals and professionals over the 
terminal age, who might have 
prevented the world from coming 
apart at the seams! 

The movie is certainly worthwhile. 
The adventure story of an escape and 
a chase is suspenseful and there are 
thought-provoking events along the 
way. But with only a smattering of 
greater detail and clarity, it might 
have been a much more important 
film. * 

Above: Peter Ustinov is the Old Man 
living in the ruins of Washington 
D.C. He is the first old person 
either of them has ever seen. They 
return with him to the domed city 
and cause its ultimate downfall. 

Below: The city of the future in the 
film is protected from the weather 
by domes overhead. There's no pol- 
lution, no starvation, no political 
upheaval. Sex is free. Living long- 
er than 30 years is the only crime. 




NASA has finally completed and published the long- 
awaited picture history of the Apollo program. Apollo Ex- 
peditions to the Moon, edited by Edgar M. Cortright, was 
worth waiting for. With many beautiful full-color photos, 
on high-quality paper, the book does a splendid job of 
recalling the drama and thrill of the moon landings, while 
being thorough in its profusion of technical details. The 
313-page book is actually written by many of the principal 
actors in the drama; chapters include: "Saturn the Giant," 
by Werner von Braun; "This is Mission Control," by 
Christopher C. Kraft, Jr.; "The Eagle Has Landed," by 
astronauts Michael Collins and Edwin (Buzz) Aldrin, Jr.; 
"Ocean of Storms and Fra Mauro," by astronauts Charles 
Conrad, Jr. and Alan B. Shepard, Jr.; plus many more. 
Apollo Expeditions to the Moon may be ordered from the 
Superintendent of Documents, U.S. Government Printing 
Office, Washington, D.C. 20402, for $8.90; stock number 


Biggest news from Ballantine concerns their plan to 
publish, in October, The Star Trek Concordance— the 
"ultimate"'Star Trek reference book; and The Making of 
Space: 1999 a behind-the-scenes look at the episodes, the 
special effects, the stars and the production people. 


Belmont Tower Books will inaugurate their series of non- 
fiction profiles with Lindsay Wagner, The Superstar of 
The Bionic Woman by STARLOG editor David Houston. 
Available in late October, the 95-cent photo-illustrated 
paperback contains both biographical stories on the ac- 
tress and background information on the creation of both 
the Six Million Dollar Man and Bionic Woman TV shows, 
including a complete filmography of all first-season shows 




The great paperback sci-fi library from Ballantine Books 
grows more vast by several new titles each month— some 
original works, some valuable reprints. Here are the latest: 

The Survival Game, by Colin Kapp— in which Colonel 
Bogaert is stranded on primitive Avida by rival star lords 
attempting to determine whether Earthlings are strong 
and clever enough to join the empire. If Bogaert survives, 
they are. 

The Reavers of Skaith, by Leigh Brackett— the final 
book in a trilogy featuring Eric John Stark (the first two 
were The Ginger Star and The Hounds of Skaith), in which 
Stark tries to bring interstellar travel to a dying planet. 

Star Trek Log Eight, by Alan Dean Foster— more adven- 
tures aboard the Enterprise, taken from the stories devel- 
oped for the animated series. 

The Early Del Rey, vols. I and II, by Lester Del 
Rey— 24 of his earliest stories, dating back to 1938, with 
autobiographical notes about the stories and the sci-fi field 

during Del Rey's growth as a writer. 

Martians, Go Home, by Fredric Brown— a delightful 
comedy about an invasion by millions of irritating and 
disruptive little green men. Brown's novels are all classics, 
and this is one of his best and wildest. Ballantine plans to 
issue a series of Brown reprints, the next: The Best of 
Fredric Brown, edited by Robert Bloch. 

Lovecraft: A Biography, by L. Sprague de Camp— an 
abridged version of de Camp's bestselling biography of the 
great American writer of horror, fantasy, and science- 

The Case of Charles Dexter Ward, by H.P. Lovecraft— 
released in conjunction with the biography, this is Love- 
craft's only full-length novel. It concerns alchemy, black 
arts, and revival from the dead. 

The Doom that Came to Sarnath, by H.P. Lovecraft— a 
collection of twenty stories. Included are: "The Other 
Gods," "The Tomb," "The Cats of Ulthar," and "Im- 
prisoned with the Pharoahs." This volume also contains a 
complete chronology of the massive body of work created 
by Lovecraft. 

Futureworld, by John Ryder Hall— an adaptation from 
the movie script. 


Octavia E. Butler's first novel, Patternmaster, has been 
published by Doubleday ($5.95, 186 pages). The intriguing 
story is set in a future post-cataclysm Earth in which the 
Patternists possess psychic powers that have forced them 
into a cast system: the more powerful force the less psy- 
chicly adept into submission. The plot concerns the two 
sons (one more powerful) of the leader, and the world they 
vie to create. Philosophical debate is at a minimum and 
there's lots of action. A fine first novel. 


There's a new collection of short stories, edited by Vic 
Ghidalia and published by Manor Books (paperback) 
dedicated to those who talk to plants. In Nightmare 
Garden, the plants talk back, with a vengeance. The 
stories (10 of them) include: "Come Into My Cellar" by 
Ray Bradbury, "Seed Stock" by Frank Herbert, and "The 
Flowering of the Strange Orchid" by H.G. Wells. 


Here is the latest information we have concerning major 
sci-fi and Star Trek conventions. If you wish to announce 
future cons, write to the editor of STARLOG. 


Harry Neuman 
1597 Oakley Park Rd. 
Walled Lake, Michigan 48088 

Washington Star Trek Convention Nov. 26 thru 29 
Washington DC 

Sept. 24 thru 26 CREATION 76 

Nov. 26 thru 28 

Gary Berman 
197-50F Peck Ave. 
Flushing, New York 11365 

STAR TREK PHILADELPHIA July 15 thru 18, 1977 

88 New Dorp Plaza 

Staten Island, New York 10306 



As anyone with both eyes and a 
television set knows, last season's 
prime time offerings from the various 
networks were less than impressive. 
For the science fiction fan, things 
were ironically just a bit brighter 
than before. Ironically, because we 
have been generally ignored since 
Star Trek departed the network air- 
ways. But 1975, in contrast, saw the 
continuation of ABC's Six Milliion 
Dollar Man, the surprisingly popular 
spin-off The Bionic Woman, and the 
big series totally ignored by all the 
networks, Space: 1999. 

NBC ditched last season's The In- 
visible Man starring David Mc- 
Callum in favor of another secret 
agent who can become invisible. The 
Gemini Man stars Ben Murphy as 
s'pecial investigator Sam Casey. Sam 
works for a group known as INTER- 
SECT, which supplies operatives 
from its think-tank facility for high 
security missions. On one such mis- 
sion, Sam is caught in an underwater 
radiation explosion. After he recov- 
ers, he suddenly finds he has the 
power to make himself invisible at 
will. Hence the difference between 
this and the other version. The only 
catch for Sam, though, is that if he 

can actor who has spent the better 
part of his career in Britain. Sci-fi 
fans will recognize him as the man 
who played Dr. Heywood Floyd in 
2001: A Space Odyssey. 

During last season's dearth of good 
material, ABC came out of it all 
smelling like a rose. For a period of 
several weeks on end, the network 
everyone had considered the also-ran 
of television actually placed first in 
the overall Neilsen ratings, and tradi- 
tional leader CBS fell to number 
three for the first time in years. ABC 
certainly wasn't hurt by having Lee 
Majors as The Six Million Dollar 
Man hauling in strong ratings, and 
then the show was joined by The 
Bionic Woman, starring Lindsay 
Wagner. Not only did ABC play the 
spin-off game very well in this case, 
but more than a few viewers found 
The Bionic Woman superior to its 
parent show, largely due to Ms. 
Wagner's delightful performances. 
Needless to say, the network has held 
on to both shows for another season. 

This fall, the lead-off episode for 
The Six Million Dollar Man will be 
"The Return of Big Foot, Part One." 
John Saxon, veteran of countless sci- 
fi epics, has been signed as a guest 
star. Part Two of "Return of Big 
Foot" will be shown the following 

thg new 

T€L£MI9IOM 9G/190N 

stays invisible too long, he will re- 
main that way permanently. There- 
fore, to monitor Sam's metabolism 
and on-going physical condition, he 
has a "watch dog" named Abby 
Lawrence and a boss named Leonard 
Driscoll. From the information pres- 
ently available, it is difficult to tell 
how far into science fiction The 
Gemini Man will venture, but prelim- 
inary indications seem to point to a 
Mission: Impossible approach. 

Ben Murphy is probably best re- 
membered as Jones from Alias Smith 
and Jones some years back. He also 
appeared on The Name of the Game 
and Grif. Co-starring as Abby is 
Katherine Crawford, who is probably 
best known as the daughter of suc- 
cessful writer/producer Roy Huggins 
and as the wife of Universal Pictures 
president Frank Price. But, as her of- 
ficial NBC bio puts it, "talented 
Katherine Crawford is a successful 
actress in spite of her obviously good 
connections." The other star of the 
show is William Sylvester, an Ameri- 


week on The Bionic Woman. This 
device of crossing from one show to 
another by the various characters 
has proved to be a very successful 
ratings builder and will be used again 
later in the season with the three part 
"Kill Oscar" segments. "Kill Oscar" 
will begin on Bionic Woman, journey 
to Six Million Dollar Man, and then 
return to Bionic Woman. 

And, finding that science fiction 
does indeed have an audience (how 
could anyone have doubted it?), ABC 
has gone ahead with two other 

The first of these is a situation 
comedy called Holmes and Yoyo. The 
basic premise is that of assigning a 
425 pound robot, which is supposedly 
indestructible, to be the assistant to 
an accident-prone police detective, 
whose accidents are often fatal— to 
his assistants. There has been a great 
deal of confusion between this show 
and an ABC Movie of the Week 
called Future Cops, starring Ernest 
Borgnine. Future Cops used the same 

basic situation, but in a straightfor- 
ward, adventure-story approach to 
the subject. Holmes is obviously 
played for laughs. 

Holmes is played by Richard B. 
Shull, and both the robot Yoyo and 
its creator, Dr. Gregory Yoyonovich, 
are played by John Schuck. Obvious- 
ly the robot was "modeled" in the 
likeness of its creator, and that is 
just about as close to a message as 
the show will get. Also appearing will 
be Bruce Kirby as Capt. Harry Sed- 
ford and Andrea Howard as Officer 
Maxine Moon. Maxine finds Yoyo 
absolutely irresistible, not least 
because the robot has no romantic 
programming at all. John Schuck 
will, of course, be recognized from his 
role in the movie M. A. S. H. as Pain- 
less, the dentist, from numerous 
other films, and his role as Sgt. 
Enright on McMillan and Wife. 

In addition to its regular schedule, 
ABC has lately bought eleven hours 
of The New, Original Wonder 
Woman. ABC's disastrous experi- 
ence with another version (Wonder 
Woman, starring Cathy Lee Crosby) 
might have deterred some folks, but 
the higher-ups decided that if the 
treatment wasn't right, the subject 
matter was. So they have come back 
with Linda Carter (Miss USA for 
1973) and the classic costume, aided 
and abetted by Lyle Waggoner as 
WW's faithful and trouble-prone 
boyfriend, Major Steve Trevor. The 
first two episodes will be re-runs of 
the two showings last March and 
April, and will be Movie of the Week 
segments on September 11 and 18. 
Then, throughout the fall more 
episodes of varying lengths will be 

Below: Richard B. Shull is Detective 
Holmes in the new ABC comedy. Holmes 
and Yoyo. He is trying to figure 
out the inner workings of his robot 
assistant Yoyo, played by John Schuck. 

shown. In case you missed them, the 
two titles are "Fausta, The Nazi 
Wonder Woman," and "Wonder 
Woman Meets Baroness Von Gun- 
ther." Guest starring in "Baroness 
Von Gunther" are Christine Belford 
and Bradford Dillman. The guest 
stars in "Fausta" are Christopher 
and Lynda Day George. At press 
time, no other dates are confirmed, 
but there will be at least one hour- 
and-a-half show, several hour-long 
episodes, and a couple that are two 
hours long. 

The new season would certainly be 
less impressive if there were no 
Space: 1999 back on the air this year. 
Whatever one's feelings about Year 
One, as ITC is calling it, 1999 was the 
only new, purely science fiction series 
last season, and as such was a great 
relief from the seemingly innumer- 
able police stories. (For a thorough 
examination of the changes that have 
occurred and the hopes for the future 
of this show, see page 32.) 

In looking over the new season, 
there seems to be much to be hopeful 
about. There is also every reason to 
expect that more and more science 
fiction will be appearing in movie-of- 
the-week type slots as the studios 
find that there is a much larger au- 
dience out there than they had 
thought (there is now over 
$100,000,000 dollars budgeted for 
sci-fi films in the coming year). Cer- 
tainly there will be some successes 
and some failures, but that is to be 
expected from any season. Only time 
will tell which of the new shows will 
be able to make it through that 
obstacle course common to every 
show— the Neilsens. -jr 

Above: Lynda Carter appears as the 
New, Original Wonder Woman on ABC 
this fall along with Lyle Waggoner 
as her boyfriend, Maj. Steve Trevor. 

Left: NBC's fall season features Ben 
Murphy as Sam Casey in The Gemini 
Man. Sam is a special agent who 
can make himself invisible at will. 






mm * m 

The United States' Viking missions to Mars are not— as predicted 

putting an end to our romantic attitudes toward the red planet. As H.G. 

Wells suggested, back in 1898, it is a desert planet, dying for want of 

water . . . water which once flooded its surface. Even the Chesley 

Bonestell painting of the surface of Mars, in the movie of War of the 

Worlds, turns out to have been prophetic: all that's missing from our 

own Viking photographs is the man-made canal Bonestell depicted. 

And who knows? We've only seen a miniscule portion of the surface up 

close . . . maybe we'll yet find the canals of a lost civilization. In tribute 

to Wells' splendid malevolent vision of our neighboring planet, journey 

with us through the thrilling adaptations and mutations of this classic. 


' Wo one would have believed in the last years of the 19th century 

that this world was being watched keenly and closely by 
intelligences greater than man 's and yet as mortal as his own. " 

With these words, H.G. Wells began 
his action-packed novel, The War of 
the Worlds. Although the story is 
very dated now, it still remains pop- 
ular among science fiction fans. The 
entire fictitious tale was narrated by 
an unidentified man, and much of the 
information was provided through 
his incredible first-hand experiences. 

The locale was London and its sur- 
rounding areas, and the Martians 
never got past these boundaries. One 
by one, the cylinders fell from the dis- 
tant red planet, and from each 
emerged a towering war machine- 
powerful, gleaming masses of metal, 
mounted on movable tripods, armed 
with heat rays. The Martians them- 
selves resembled bloated octopi; they 
had journeyed to Earth to colonize 
the planet and to replenish their food 
supply; although it was not extreme- 
ly obvious, they ate human flesh and 
drank warm blood. 

When army units failed to stop the 
merciless invaders, London was 
evacuated and subsequently taken 
over by the loathsome aliens. Thou- 
sands of people were killed— burned 
by the heat rays, suffocated by the 
black poison gas, or trampled 
beneath the massive legs of the 
mobile war machines. Mankind 
seemed doomed, until, for no ap- 
parent reason, the Martians sudden- 
ly began to die. Shortly afterward, all 
of the repulsive creatures were dead, 
and their destructive instruments lay 
dormant. It was later determined 
that they had been killed by every- 
day disease bacteria. Our planet had 
been saved by something which is 
always with us, yet which we usually 
ignore. The irony of this is that Man, 
with all of his artificial might, had 
been unable to halt his extraterres- 
trial enemies, but what had saved 
him was, in essence, the common 

Unknown to many people today, a 
fellow named Garrett P. Serviss 
wrote a poor sequel to The War of the 
Worlds. Entitled Invasion of Mars, it 

Right: George Pal directed the 1953 

War of the Worlds for Paramount. Due 

to the care and expense lavished on 

it, this remains one of the most 

effective sci-fi adventures on film. 

People crowd into the street to look at the spectacle of the 

downed Martian warship. As usual, the aliens had attacked Earth 

unprepared for the microscopic bacteria lurking in the air ready 

to attack the first convenient being not immune to such infestation. 

deviated tremendously from Wells' 
original concepts. Having appeared 
in a New York newspaper, the Even- 
ing Journal, in 1898, it was reprinted 
by Powell Publications, Inc. in 1969. 

This version began by rehashing 
the plot of its predecessor, and then 
went on to explain how our scientists 
utilized the devices that had been left 
by the Martians. Believe it or not, 
one of the heroes in this tale was none 
other than Thomas Edison. He and 
several other men of distinction suc- 
cessfully analyzed the invaders' 
devices, and went further by develop- 
ing defenses and their own vibratory 

Enraged by the recent assault 
upon mankind, a "Congress of Na- 
tions" voted to counterattack. Six 
months later, one hundred electric- 
ally-powered spaceships, each armed 
with a full battery of disintegrators, 
were ready to embark on the mission 
of vengeance. A short time later, over 
two thousand men from various 
countries— Edison included— de- 
parted for Mars. Along the way, the 
expedition encountered giant mon- 
sters that were considerably dif- 
ferent from the Martians that Wells 
had described. 

From this point on, the humans 
had to fight their way to the heart of 
the hostile planet. In doing so, they 
learned much about their foes, and 
they discovered that there was also a 
race of humanoids residing on the 
distant sphere. A female of this 
species -helped Edison and his crew 
negotiate with the survivors of the 
attack, and in doing so, her people 
were freed from their bondage to the 
ugly overlords. Ultimately, fifty-five 
ships returned to Earth, and the 
helpful alien woman later married an 
officer of the armada. Needless to 
say, this novel is highly romanti- 
cized—and ridiculous. However, it 
does possess a certain potential for 

Orson Welles and "The Mercury 
Theatre on the Air" broadcast their 
own modernized version of The War 
of the Worlds on CBS radio on Oc- 
tober 30, 1938. In this pre-television 
period, it was understandable why 
many listeners who missed the in- 
troduction to the program mistaken- 
ly believed that an invasion from 

Gene Barry tentatively reaches out to check the "vital signs" 
of one of the mortally ill alien invaders after their airship has 
crashed into the side of a building in downtown Los Angels. 


another planet was actually taking 
place. Panic swept across the nation 
as the realistic news reports con- 
vinced citizens that alien monsters 
were coming to kill them. One of the 
main reasons for this mass hysteria 
was that Hitler was starting to go 
berserk in Europe at this time, and 
the entire world was feeling quite 

Many important changes were 
made in the radio script to make it 
more effective. Firstly, the invasion 
took place on the day that it was 
broadcast, as the listeners were hear- 
ing it— and not in 1898. Secondly, the 
locale was shifted to the United 
States— New Jersey and New York, 
to. be specific. As before, the Mar- 
tians were nearly indestructible; for 
example, during the first battle with 
a then-modern army, a single war 
machine killed nearly seven thousand 
soldiers. As the program continued, 
more and more metal monsters ap- 
peared to reinforce the original land- 
ing party. Troops, cannons, bombers, 
and everything else that was used 
against the Martians failed to stop 
them. Although several enemy 
vehicles were damaged during the 
fighting, this proved to be inconse- 
quential in the long run. 

As in the novel, the monsters used 
heat rays and poison gas to destroy 
everyone and everything in their 
path. When the Martians were enter- 
ing Manhattan, one of the actors 
said, "No more defenses. Our army is 
wiped out . . . artillery, air force . . . 
everything wiped out. . . ." As 
before, that which saved the world 
was the lowly cold germ. 

This broadcast and its repercus- 
sions were the basis for a made-for- 
TV movie. The Night That Panicked 
America was first televised in 1975. 
The best parts of it dealt with the 
production aspects of the radio show. 
Paul Shenar was a good choice to 
play the role of Orson Welles, but 
most of the film dealt with other 
characters. The emphasis was on 
several people who believed that the 
play was real, and these segments 
were presented in somewhat fiction- 
alized form. The main shortcoming of 
the presentation was that too little of 
the radio script was heard. Fortu- 
nately, there is a two-record album of 

Right: When Orson Welles was 
asked about the panic caused 
by his radio version, he said, 
"We almost didn't do the story 
because we didn't want to of- 
fend our listeners with some- 
thing so implausible." In spite 
of repeated announcements as to 
its fictional nature, many 
people were badly frightened. 
Below: Ann Robinson and Lewis 
Martin as Sylvia and her Uncle 
Matthew in the 1953 movie. 


fl 2 w hi mwm 

The Actual Broadcast hy The Mercury Theatre on the Sir as heard 

over the Columbia Broadcasting System, October 30. 1938 

■• The most thrilling dradWI ever broadcast Irom the 

'amedHOWARO KOCH script! _ _ M 

1 10 * 

Above: The extremely 
well done Classics 
Illustrated adapta- 
tion of the book re- 
mained very faithful 
to the original 
story. Left: This is 
the only photo of an 
actual George Pal 
Martian that is known 
to be in existence. 


Below: The Martian war machines attack a farmhouse right after the 

hero and the girl have fled into the hills. The miniatures of the 

landscapes and the two- foot aircraft took five months of preparation 

under the guiding hands of Art Director Al IMozaki and George Pal. 

Right: Always on the 
alert for new adven- 
ture stories, Marvel 
Comics began 
a sequel to the Wells 
tale with the invention 
of Killraven in 1973 . 
This hero has been 
trained to fight the 
oppressive monsters 
from the Red Planet 
who have completely 
subjugated Earth on 
this their second 
attempt at invasion. 


the entire original broadcast, from a 
company called Evolution. 

In 1953, Paramount released one of 
the greatest special effects spec- 
taculars of all time: War of the 
Worlds. Veteran science-fiction pro- 
ducer George Pal took Barre Lyn- 
don's script, and, with the help of 
director Byron Haskin, created a tru- 
ly fantastic film. If not for the highly 
expensive and elaborate visual ef- 
fects and the gorgeous photography, 
this presentation would not have sur- 
vived well through the years. 

Once again, a number of major 
changes were incorporated to make 
the story a modern one. Nothing 
frightens people more than to learn 
that the defenses upon which they de- 
pend to protect their complacent ex- 
istence are useless. 

This time around, the first space 
cylinder from Mars landed in Califor- 
nia—during the 1950's, of course. Un- 
like the previous versions, the Mar- 
tians did not reveal themselves as 
soon as the door to their craft was 
unscrewed. Instead, the suspense 
built as a serpent-like metal device 
protruded from the smoking "mete- 
orite." Not long after heavily-armed 
U.S. Marine units surrounded the 
crater, three fighting machines 
emerged and wiped out all resis- 
tance—men, cannons, tanks, jets, 
and even a shining holy cross. While 
the creatures never used the tradi- 
tional black poison gas, they did uti- 
lize two different types of super- 
weapons. One of these melted any- 
thing in its path; the other disinte- 
grated all solid matter. The war ma- 
chines themselves were sleek, trian- 
gular objects that were propelled 
through the air by invisible magnetic 
beams— even the Martians had been 
modernized. Now it was truly a war 
of the worlds, because cylinders 
landed in every major country. 

As before, nothing could hold the 
invaders back— not even an atomic 
bomb. However, as Los Angeles was 
falling before the massive onslaught, 
the crimson-colored enemy became 
stricken by you-know-what and died. 
Earth was safe once again. Inter- 
estingly enough, not only were the 
alien devices different, but so were 
the Martians themselves. They were 
short cyclopses that were humanoid 
in shape and moved very rapidly 


despite our stronger gravitational 
force. There were also a lot of 
religious references throughout the 
film, which the atheistic Mr. Wells 
would have resented very much. Ac- 
tually, this flick could be considered a 
sequel to the book, especially since 
the Martians also had more advanced 

To date, there have been two comic 
book versions of the original novel. 
The first of these was presented by 
Classics Illustrated, the color art- 
work for which was beautiful. The 
adaptation stuck fairly closely to the 
first concept, but certain details were 
either toned down or omitted. Re- 
cently, a black and white graphic ren- 
dition was published by Pendulum 
Press, Inc. Drawn and excessively 
inked by Alex Nino, it followed the 
original story nearly perfectly. 
However, the simple tripod vehicles 
of the invaders were now complex 
technological nightmares. Each of 
the two versions is very good in its 
own way, but it would be nice to see 
something which is superior in both 
art and story— in color, naturally. 

Back in 1973, the Marvel Comics 
Group began their own intriguing se- 
quel to The War of the Worlds. Hav- 
ing started in Amazing Adventures 
No. 18 , the exploits of Killraven and 
his band of killers are still being pub- 
lished, and in many ways it is their 
finest endeavor. As the story goes, 
the Martians returned to Earth in 
the year 2001, equipped with protec- 
tion against nuclear and biological 
weapons, and an immunity to dis- 
ease. This time, the carnivorous 
monsters overran and conquered the 
entire planet. Approximately twenty 
years later, a specially-trained war- 
rior named Killraven, accompanied 
by several comrades and with his 
own mysterious telekinetic powers, 
fought against the Martians, their 
despicable human servants, and mu- 
tants. While the series occasionally 
suffers from ridiculous subplots, it 
often excels in story, script, and art. 

The most recent addition to this 
"continuing" saga was Sherlock 
Holmes ' War of the Worlds. Portions 
of this five-part novel were originally 
published in The Magazine of Fan- 
tasy and Science Fiction, but these 
were reworked for the Warner Publi- 
cations paperback. Written by Manly 

Technicians make adjustments to the flying machines in the 1953 
George Pal War of the Worlds. The change from tripods to airborn ve- 
hicles was only one of several changes, but the atheistic Wells would 
probably have objected most to the tacked-on religious references. 

W. Wellman and Wade Wellman, it 
related the roles of Sherlock Holmes, 
Dr. Watson, and Prof. Challenger 
(Doyle's hero from The Lost World 
and other tales), basing the format on 
Wells' novel of invasion and his short 
story, "The Crystal Egg." The de- 
lightful rendition succeeded in cap- 
turing the personalities of the main 
characters superbly. It is evident 
that a great deal of research was 
done by the authors. Adding to the 
amusement was the fact that H.G. 
Wells himself played a definite, 
though indirect, role in the story. 

Without knowing that the Crystal 
Egg had any special properties, 
Holmes purchased the item from a 
shady antique dealer. Noting that 
there was something odd about the 
object, the private detective took it 
to Challenger and asked him to ex- 
amine it. Together, they deduced 
that what they possessed was a tele- 
vision-like instrument that was 
receiving transmissions from Mars. 
Therefore, they knew, before anyone 
else, that an enemy force was on its 
way to Earth. When the creatures 
landed, the two men offered their ex- 
pert opinions to the authorities, 
because they understood a great deal 
about the invaders' actions. 

Since Holmes and Challenger were 
able to observe the aliens even after 
they set down, they saw how the 
creatures fed upon living humans. As 
in the original novel, the Martians 
used tripodal war machines, heat 
rays, black poisonous smoke, and cir- 
cular flying contraptions. However, 

the authors refuted some of the 
"facts" that Wells had recorded. For 
instance, their version of the confron- 
tation between the torpedo ram and 
the enemy vehicles was considerably 

Perhaps the most interesting varia- 
tion was that Holmes and his com- 
panions actually captured a Martian 
that had attempted to regain the 
Crystal. The already-decomposing 
being was injected with drugs, pre- 
served in a tub of liquor, and later 
donated to the Natural History Mu- 
seum. Sometime after the invasion 
failed, another expedition from the 
red planet journeyed to Venus, but 
atmospheric conditions there forced 
them to leave. We learned of this 
because Challenger had remained in 
contact with the monsters after they 
left Earth. Amusingly enough, the 
book ends by publishing a letter from 
Watson to Wells, demanding that the 
latter admit the falsities of part of his 
novel. In many ways, this work is 
superior to The War of the Worlds. 

That's it to date— but it is surely 
not the end of the saga of The War of 
the Worlds. Recently there were 
plans to make a television series 
based on Wells' original concepts. It 
is not known whether this would be a 
serialized version of the original 
story, or a sequel. In any case, it has 
not materialized so far. It could be an 
exciting venture— if done properly. 
Until then, we might be lucky enough 
to see something like a movie adapta- 
tion of the Wellmans' effort, or a 
remake of the Paramount motion pic- 
ture. Only time will tell. ... -^ 


Recovering from 


Space: 1999 is the first television series in history to 

acknowledge its shortcomings publicly, and then to 

attempt to rectify the situation. The producers are 

now engaged in an admirable orgy of explanation in 

an attempt to fill in first-season story gaps, and to 

set up a valid continuity for the second year. Here's a 

good sampling of that material . . . 

How much data is enough? How 
understated can a story be before it 
becomes unstated? 

Perhaps those questions have no 
definitive answer, but it's fair to de- 
mand that a story contain enough in- 
formation to explain the events and 
the motives of the characters— even 
in science fiction. Even in fantasy. 

In Metamorph, the very first 
episode of the much-heralded second 
season, Dr. Russell (Barbara Bain) 
starts right in correcting some of the 
wrongs of the first-season shows: she 
makes an entry in Alpha's log which 
explains that the moon almost im- 
mediately entered a time warp that 
hurled it light-years across the 
galaxy. And she puts the odyssey of 
the errant moon into perspective. 

Metamorph is a straightforward 
adventure story. Its theme is "truth 
conquers all" and, at the conclusion, 
the audience is left with a perfectly 
clear idea of what has transpired and 
in what way the Alphans' lives have 
been affected. Not once (as so often 
happened last year) are we told to ac- 
cept the fuzzy "mysterious unknown 
force" as an explanation of how 
something came to occur. While a 
good many scientific principles in 
Metamorph are left vague, those 
ideas that affect the plot are clear. 

Independent Television Corpora- 
tion (ITC), producers of the show, 
have begun to compile background 


data on Space: 1999— both from the 
actual episodes and for deductions 
concerning what should have been -in 
those episodes. Some of these clarifi- 
cations will show up in second-season 
shows; even more will be published in 
a forthcoming Ballantine Book: "The 
Making of Space: 1999" which is 
scheduled for October publication. 

Moonbase Alpha, it can now be re- 
vealed, was built in the crater Plato, 
on the near side of the moon (so as to 
be within radio range of the earth). 
The base was inaugurated in 1988 
merely to be the overseer of nuclear 
waste deposits— which were dumped 
there from a global network of reac- 
tors, the principle source of electric 
power for Earth in the 80's. 

In the early 90's, our search for 
signals from extraterrestrial civiliza- 
tions paid off: signals were received 
from the region of Capricornus and 
code-named "meta." To investigate 
the phenomenon from outside the 
debilitating atmosphere of earth, a 
world council subscribed funds for a 
research base adjoining the waste- 
deposit monitoring station. 

The base, Alpha, became opera- 
tional in the spring of 1997. It was 
manned by 330 top-notch scientists 
and astronauts and consisted of a 
number of fixed research and opera- 
tions sections: 

Environmental. Responsible for air 
circulation, disease-germ removal, 

and electric power, this section also 
incorporates the scanners and sen- 
sors that were built to search for ex- 
traterrestrial life. (Now that the 
moon is an independent body in 
space, the sensors are kept busy look- 
ing not only for life but for dangerous 
radiation and changes in the space 

Hydroponics. Here plants are 
cultivated for food and the produc- 
tion of oxygen for the atmosphere. 
The plants "breathe" the waste car- 
bon dioxide from the humans- 
making Alpha a closed, ecologically 
balanced system. 

Engineering and Technics. Certain- 
ly the busiest section on Alpha, E&T 
must service all hardware — com- 
puters, space ships, manufacturing 
machinery, and the like. It was 
through the E&T department that 
the static waste-monitoring station 
was enlarged into the outer-space 
research center, Alpha. 

Research. The Alpha crew includes 
a team of scientist-philosophers in- 
tent upon understanding the nature 
of the universe. In the Research sec- 
tion, experiments and observations 
are conducted toward this end. (It is 
Research that determines whether a 
planetary body would be suitable for 
human life, suitable to be a new home 
for the wandering Alphans.) 

Medical. Dr. Helena Russell and 
her team of doctors see to the 

Weightless Martin Landau, from 
the first season— "War Games." 

Etrec and Pasc of Archanon (played 
by Michael Gallagher and John 
Standing) are revived from suspen- 
ded animation in "The Mark of Arc- 
hanon" in the 1999 second season. 

physical and psychological well-being 
of the Alpha crew. 

Main Mission. This is the nerve 
center of Alpha, where all computers 
and machinery are monitored by sec- 
tion heads, and from which all com- 
mand decisions must be made. 

In January, 1999, plans to launch a 
Meta probe were instituted, and 
American-born astronaut John 
Koenig was chosen to take charge of 
the operation. Koenig— who held doc- 
torates in extraterrestrial biology, 
organic chemistry, and space propul- 
sion systems— was to replace Com- 
mander Gorsky, leader of the Alpha 

The Meta probe, of course, was 
never launched. The nuclear waste 
deposits exploded on September 13, 
1999 with a surge of incredible 
power, and pushed the moon out of 
orbit, out of the solar system and out 
of the plane of the ecliptic. It was this 
spiraling "upward"— into utterly 
unexplored space— that hurled the 

moon into the time warp that 
transported it light-years away from 

For year two, Main Mission— for 
safety's sake— has moved under- 
ground. New receiving stations and 
operations consoles have been added 
to facilitate the running and safe- 
guarding of Alpha. The above- 
ground sections extend about two 
miles in diameter in the 50-miles- 
across Plato crater. Main Mission is 
about half a mile deep. 

Aside from story background ma- 
terial, the second year of Space: 1999 
will proceed much like the first 
year— with an even higher budget for 
special effects and settings. It has 
even been reported that special- 
effects chief Brian Johnson has been 
testing stop-motion animation tech- 
niques for one of the episodes cur- 
rently in production. 

New producer Fred Freiberger has 
expressed his disapproval of stories 
employing "pseudo-philosophical" 
themes, and has promised to deliver 

"honest" adventures. He has also 
promised to "humanize" the charac- 
ters. When Freiberger took over Star 
Trek for its third season, he did, in- 
deed, remove ideological material 
from the plots and "humanized" the 
Star Trek crew— in some cases 
beyond recognition. But, oddly 
enough, it's doubtful that his affilia- 
tion with SPACE: 1999 will have any 
but positive results. The 1999 stories 
were never particularly philosophi- 
cal, and the characterizations were so 
shallow that any deepening of them 
will be an improvement. 

The new music scoring— by Barry 
Gray and Vic Elms— is dramatic and 
exciting; and it omits the rock-music 
sections that so diminished the sense 
of importance during the credits last 

All in all, it looks like a season of 
great improvements. 

This is a damn good thing— since 
it's the only new sci-fi television spec- 
tacular we ' ve got ! -X- 

The surface of the planet Psychon 
in the introductory second-season 
episode, "Metamorph," which intro- 
duces the alien Maya and makes her 
a member of the Alpha science team. 

Martin Landau in a moment of 
crisis in "The Mark of Archanon." 


\ ;*W* 

V -V 

In "All That Glitters" a rock can be 
deadly, alluring, and intelligent. 

1999 has been the unquestioned 
champ of television special effects. 
Their settings — such as this in- 
terior of an Eagle cockpit— are 
unparalleled scenic-design art: 
both efficient and spectacular. 

Second-season credits: 

Executive producer — Gerry Anderson 
Producer— Fred Freiberger 
Special effects— Brian Johnson 

Production design — Keith Wilson 

In the firm belief that we have not seen the last of 

Space: 1999's first-season shows, STAR LOG 

presents the following complete filmography of the 

1975-76 season — for future reference. 

These first 24 episodes starred Martin Landau as Com- 
mander John Koenig, Barbara Bain as Dr. Helena 
Russell, Barry Morse as Professor Bergman, Nick Tate 
as Alan Carter, Prentis Hancock as Paul Morrow, Clif- 
ton Jones as David Kano, Zienia Merton as Sandra 
Benes, and Anton Phillips as Dr. Mathias. Executive 
producer- Gerry Anderson, Producer— Sylvia Anderson, 
Alpha costume designer— Rudi Gernreich. The sequence 
of shows in this listing conforms to the order of New 
York City air dates. 


John Koenig arrives at Moonbase Alpha to supervise a 
deep-space probe under development, but soon discovers 
mysterious radiation plaguing the Moonbase crew. Dr. 
Russell insists that the source is storage dumps of 
nuclear wastes. Before disaster can be averted, the 
wastes explode— with such devastating force that the 
moon is hurled out of orbit and out of the solar system, at 
a fantastic velocity. 
Screenplay: George Bellak. 
Guest cast: Roy Dotrice as Commissioner Simmonds. 


While Koenig and Russell disagree about Tony Cellini's 
mental state, they hear him out as he tells of finding a 
"graveyard of spaceships" with a terrifying monster 
guarding the derelicts. Cellini had been the only survivor 
in an encounter with the monster years ago, and now, 
nobody believes his warning of horror and danger. 
Screenplay: Christopher Penfold. 

Guest cast: Gianni Garko as Tony Cellini, Douglas 
Wilmer as Commissioner Dixon. 


On Ultima Thule, a planet of ice, there are signs of life, 
and an invitation that the Alphans come to share in a 
paradise. When they land to investigate, Koenig and his 
party meet Earthmen who passed through a time warp 
and have lived 880 years. But there are dissidents among 

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Barbara Bain 

as Dr. Helena Russell 

Catherine Schell i 

as Science-Officer Maya j 

them, including a beautiful woman who tells them of 
other visitors who were sacrificed to the science of Ultima 
Thule and are now no more than vegetables. 
Screenplay: Anthony Terpiloff and Elizabeth Barrows. 
Guest cast: Brian Blessed as Cabot Rowland, John 
Shrapnel as Jack Truner, and Mary Miller as Freda. 


While off the moon in an Eagle, Alan is given up for lost 
and then saved mysteriously by an aged alien woman, 
Arra, Queen of the enormous planet Astheria. It is 
discovered that the moon and Astheria are on an in- 
escapable collision course. Arra convinces Koenig to trust 
her and to do nothing to stop the collision— an event she 
has been awaiting for millions of years. 
Screenplay: Anthony Terpiloff. 
Guest cast: Margaret Leighton as Arra. 


A strange ball of blue light appears, and technician An- 
ton Zoref becomes infused with an all-consuming need to 
absorb energy. The people he touches freeze on contact; a 
lamp turns to solid ice; he is pulling energy from the huge 
moonbase generators. Koenig attempts to destroy him, 
before Zoref can destroy Alpha. 
Screenplay: Johnny Byrne. 

Guest cast: Ian McShane as Anton Zoref, Gay Hamilton 
as Eva Zoref, John Hammil as Dominix, Eva Rueber- 
Staier as Jane. 


Cynthia is the first Alphan to become a mother, and 
Jackie proves an extraordinary child. Within hours he 
has reached the development of a five-year-old, and very 
soon he is an adult who calls himself Jarak. He and his 
companion are fugitives from a world of genetic conformi- 
ty and plan to enslave the Alphans to his purpose. But his 
people are in pursuit and threaten to annihilate Alpha to 
stop their runaways. 
Screenplay: Christopher Penfold. 

Guest cast: Julian Glover as Jarak, Cyd Hayman as Cyn- 
thia Crawford, Wayne Brooks as Jackie. 


False computer information lures the Alphans to the sur- 
face of Piri, where they find a mechanized paradise able, 
apparently, to relieve all pain and satisfy all wants. A 
beautiful woman materializes and sees to the seduction'of 
the Alphans, but Koenig sees the living death implicit in a 
purposeless existence and fights to free his people from 
the hypnotic influence of the Guardian of Piri. 
Screenplay: Christopher Penfold. 

Guest cast: Catherine Schell as the Servant of the Guar- 
dian, Michael Culver as Pete Irving. 


An alien ship bound for Earth crash-lands on the 
runaway moon. Its crew, in suspended animation, is 
revived and Captain Zantor agrees to take a desperate 
Alphan, Commissioner Simmonds, to Earth with them— 
provided the alien system of suspended animation will 
work for earthman Simmonds. And there is no way to 
perform a satisfactory test. 
Screenplay: Anthony Terpiloff. 

Guest cast: Roy Dotrice as Commissioner Simmonds, 
Christopher Lee as Captain Zantor. ._ 


The gigantic spaceship of the Darians has been broad- 
casting its automatic distress signal for almost 900 years. 
By the time theAlphans launch a mercy mission to help 
them, the surviving inhabitants— still blindly on their 
way to a promised world— have split into an inhuman 
aristocratic minority and a degenerate hoard of primi- 
tives. But that's not the way it looks at first. 
Screenplay: Johnny Byrne. 

Guest cast: Joan Collins as Kara, Aubrey Morris as 
Petro's High Priest, Dennis Burgess as Neman, Paul An- 
trim as Lowry, Robert Russell as Hadin. 


After a spectacular and devastating attack by an uniden- 
tified fleet of war ships, Alpha, with 129 dead and life- 
support systems crippled, is no longer habitable. Koenig 
and Russell transport to the hostile planet to plead for 
mercy— and receive none. Amid the transparent and 
transluscent machinery of the aliens, Koenig is killed, and 
Russell is tempted to use a strange power. 
Screenplay: Christopher Penfold. 

Guest cast: Anthony Valentine as the male alien, Isla 
Blair as the female. 


The moon is being drawn into the center of a huge 
gaseous "black sun" with apparently no way to avert ut- 
ter annihilation. There seems a slim chance that six might 
yet escape in an Eagle; Dr. Russell and five depart while 
the others remain and grow transparent and age rapidly 
as they rely upon Professor Bergman's force field. 
Screenplay: David Weir. 
Guest cast: Paul Jones as Ryan, Jon Laurimore as Smit- 



A life-sustaining asteroid appears three light years from 
the nearest star. Aboard there is an injured humanoid— 
doomed to spend eternity in his prison of rock. Released 
and now hungry to inflict pain and destruction, Balor 
becomes a harrowing problem: to kill him, Koenig must 
sacrifice himself to bait a trap that will eject the two of 
them into space forever. 
Screenplay: Johnny Byrne. 
Guest cast: Peter Bowles as Balor, Jim Smilie as Baxter. 


The moon catches up to a deep-space probe launched from 
earth 14 years before the moon was catapulted away. The 
Voyager One is disabled and out of control; its Queller 
Drive has caused millions of deaths in a passage near two 
habited planets; and now, Koenig realizes, it must be 
destroyed. But Dr. Russell wants to preserve the ship, its 
inhabitants, and its scientific discoveries. 
Screenplay: Johnny Byrne. 

Guest cast: Jeremy Kemp as Dr. Ernst Linden, Barry 
Stoies as Jim Haines, Alex Scott as Aarchon, Lawrence 
Trimble as Pilot Abrams. 


Helena Russell's husband, missing in space for years, 
mysteriously appears aboard an Eagle returning from a 
reconnaissance flight to what seems a compatible planet. 
Lee Russell warns the Alphans away, explaining he and 
the planet are composed of anti-matter— then he disinte- 
grates. The Alphans ignore his warning, descend to the 
planet, and are destroyed. 
Screenplay: Art Wallace and Johnny Byrne. 
Guest cast: Richard Johnson as Lee Russell, Stuart 
Damon as Parks. 


A friendly voice emanates from an alien ship, appealing 
for supplies and asking for permission to land. Koenig 
and Russell enter the ship and meet an extraordinarily 
old man, Companion. It is learned that he built the com- 
puterized ship and programmed his own personality into 
its computers— and now is a slave to his vain alterego 
called "Gwent." When Companion dies, Koenig is cap- 
tured to replace him. 

Screenplay: Anthony Terpiloff and Elizabeth Barrows. 
Guest cast: Leo McKern as Companion. 


Past and future overlap. Miraculously, the Alphans find 
themselves once again in earth orbit— with an identical 
moon in the same orbit. On a destroyed surface of Earth, 
the Alphans meet counterparts of themselves. 
Screenplay: Johnny Byrne. 
Guest cast: Judy Geeson as Regina Kesslann. 


A space probe on its way to destroy Earth locks the moon 

into a captive orbit with a ring of light. Dr. Russell is 

"beamed" aboard the vessel and "programmed" to reveal 

classified information. Ironically, the aliens, from Triton, 

don't know that their mission became unnecessary many 

years ago. 

Screenplay: Edward Di Lorenzo. 

Guest cast: Max Faulkner as Ted Clifford. 


Moonbase Alpha is caught up in a time warp. They land 
on what they think is a new planet and discover 
themselves there as cave men! In the confusion, Koenig is 
nearly killed by one of his own crewmen, and not knowing 
he is gunning for his comrades, Alan Carter sets out to 
destroy the "primitives" to rescue Sandra. 
Screenplay: Jesse Lasky, Jr. and Pat Silver 
Guest cast: Oliver Cotton as Spearman. 


When a planet is discovered approximating Earth's 
environment— a planet Dr. Bergman calls Ariel-Alpha 
personnel prepare for Operation Exodus. But a storm 
crashes the Eagle carrying Helena, Paul, Sandra, and 
Alan, before they can leave the moon. They survive 

because a mysterious force is providing an atmosphere 

for the moon! Exodus is cancelled when it seems that 

their own moon will become a life-sustaining planet. The 

alien force, however, is capable of more than supplying 


Screenplay: Christopher Penfold 

Guest cast: none. 


Flashing hieroglyphics appear on Alpha's screens. The 
two astronauts sent out in an Eagle to investigate distur- 
bances crash back on the moon— compressed and super- 
heated into a meteor. A glutinous substance plagues the 
Alphans and possesses Kelly, making him superhuman. 
Throughout these events, it becomes progressively clear 
that the moon is heading irrevocably toward a mys- 
terious energy field, which turns out to be a benevolent 
"brain"— in danger of destruction when Alpha dies. 
Screenplay: Christopher Penfold. 

Guest cast: Shane Rimmer as Kelly, Carla Romanelli as 
Melita, Derek Anders as Wayland. 


Koenig is kidnapped and taken to Zenno, a planet five 
million light years from Earth, where an anthropologist, 
Raan, wishes to study Koenig as a representative of "an- 
cient Earthmen." Raan's daughter, Vana, sees Koenig 
and feels love for the first time in her 218 years. Koenig 
returns her affection and is tempted never to return to 

Screenplay: Edward Di Lorenzo. 

Guest cast: Joanna Dunham as Vana, Peter Cushing as 


An eerie wind sweeps through Alpha and shocks Dan 
Mateo into unconsciousness. He has been experimenting 
with methods to communicate with the plant life in his 
hydroponic unit. When Mateo dies, his "spirit" 
materializes— apparently in alliance with the plants. The 
"thing" that Mateo has summoned during his experimen- 
tation has returned to avenge its own death— which has 
not yet occurred. 
Screenplay: Johnny Byrne 

Guest cast: Giancarlo Prette as Dan Mateo, Hillary 
Dwyer as Laura Adams, Anthony Nicholls as Dr. James 


On Arkadia, the Alphans discover the remains of an an- 
cient planet that was once life-sustaining and now is bar- 
ren and dry. Sanskrit testaments are found and tran- 
slated which indicate that the original inhabitants of 
Earth came from here, transplanting the seeds of life. 
Luke and Anna trick Koenig into supplying them with 
provisions— in the hope of staying to revitalize the dead 
world, but in doing so, they have doomed Alpha to star- 

Screenplay: Johnny Byrne 
v Guest cast: Orso Maria Guerrini as Luke Ferro, Lisa Har- 
row as Anna Davis. 


The moon finds itself in the middle of an interplanetary 
war between Betha and Delta. An escape capsule from 
one of the warships lands on the moon hoping for 
safety— and beautiful Dione emerges from it. Dione is a 
commander from Betha who offers the Alphans asylum 
on her planet— but too late. Koenig attempts to negotiate , 
a cease-fire as a disinterested party— but there are things 
Dione has not told them. 
Screenplay: Bob Kellett 

Guest cast: Caroline Mortimer as Dione, Maxine Audley 
as Theia, Kef in Stoney as Talos. 

Only twelve episodes of the second season 
were completed at press time. Our f ilmography 
of the second season will 
continue in the next issue of STARLOG. 


An alien insisting he is friendly captures an Eagle with its 
two astronauts. When Koenig and Russell lead a rescue 
party, they too are taken by the ruler, Mentor, who 
transports them in a green sphere of energy to his head- 
quarters. Still insisting he is friendly, Mentor tells 
Koenig that he needs their help in rebuilding "Psychon." 
Though he does not admit his plans even to his daughter, 
Maya, he intends to empty the minds of the Alphans to 
fuel his mammoth biological molecular transformer— 
with which he hopes someday to make an Eden of his in- 
hospitable world. Maya, transforming herself into a dove, 
flies to the caves where the zombies— who were men 
before Mentor used them— toil. Convinced, she tries to 
help the Alphans escape. 
Screenplay: Johnny Byrne 

Guest cast: Brian Blessed as Mentor, Anoushka Hempel 
as Annette Fraser. 


The Alphans land on a desert planet that is apparently 
lifeless— but it's in the possession of hostile living rocks, 
organisms that can communicate, transport themselves, 
and attack by emitting deadly rays. The rocks are 
desperate for life-sustaining water. When a seemingly 
harmless specimen is taken aboard an Eagle for analysis, 
it takes command of the ship, paralyzes Helena Russell, 
and enslaves Tony Verdeschi. 
Screenplay: Keith Miles 
Guest cast: Patrick Mower as David Reilly. 


Cylinder-shaped objects are discovered orbiting the 
moon. One is recovered and opened: there is the frozen 
body of a young man. Restored, the alien identifies 
himself as Cantar and begs that Koenig save the rest of 
his people— floating in pairs or family groups, cast out by 
invaders of their planet, Golos. Koenig instructs that the 
cylinder containing Cantar's wife, Zova, be brought 

down. Cantar and Zova take over Alpha and abduct 

Helena and Tony— whom they transport to their home 

planet. Cantar and his group are not outcasts, but exiled 

psychotic killers! 

Screenplay: Donald James 

Guest cast: Peter Duncan as Cantar, Stacy Doming as 

Zova, Margaret Inglis as Mirella. 


Alpha receives a startling message from Texas City, 
USA! A breakthrough in neutronic technology provides 
transference of messages and material objects through 
time and space. Koenig, Russell, and Alan Carter are the 
first Alphans to return to earth. But something goes 
wrong, and they end up on earth in 1339, during the 
scourge of the Black Plague. It is Maya who discovers a 
method of rescue. 
Screenplay: Donald James 

Guest cast: Freddie Jones as Dr. Logan, Isla Blair as 
Carla, Roger Bizley as MacDonald, Laurence Harrington 
as Jackson, Jefferey Kissoon as Dr. Ben Vincent. 


On a search for dylenide crystals in a sublunarean tunnel, 
Alan Carter and Andy Johnson come upon a man-made 
metal cabinet obviously buried for many years. Dr. 
Russell revives the two occupants in suspended anima- 
tion. The alien Pasc and his son, Etrec, from Archanon, 
"the planet of peace," were on their way to Earth to put 
an end to our destructive wars when they were infected 
with a horrible disease. Now that they are revived, the 
disease begins to spread among the Alphans, who become 
violent and convulsive. 
Screenplay: Lew Schwartz 

Guest cast: John Standing as Pasc, Michael Gallagher as 


A lovely female alien, Zamara, appears in a dazzling burst 

of energy, cuts off Alpha's power with a wave of her hand, 

and abducts Helena and Tony. On Zamara 's planet, Tony 

and Helena discover that Zamara is the leader of a society 

of androids served by humanoids. The super-robots want 

Tony and Helena to help them learn the secret of emotion, 

so that one day the androids can make themselves fully 


Screenplay: Tony Barwick. 

Guest cast: Billie Whitelaw as Zamara, Leigh Lawson as 

Zarl, Geoffrey Balydon as Number Eight. 


On a lush green planet, Maya innocently uproots some 
flowers— and hears a thunderous accusation: "Cannibals! 
Murderers! You shall be punished!" Maya and John 
Koenig are suddenly transported to a planet where they 
face three gruesome aliens— who are also "guilty of 
murder." It's a fight to the death, the winner to be given 
freedom, in a cat-and-mouse jungle chase. 
Screenplay: Charles Woodgrove. 

Guest cast: David Jackson, Godfrey James and Roy 
Marsden as the three aliens. 


A motley spaceship, the S.S. Emporium, carries 
Taybor— sultan of space, jack-of-all-trades, wheeler- 
dealer— to Alpha. He has for sale a "jump-drive" device 
that might be able to transport the Alphans through 
hyperspace back to earth. Taybor wants only one thing in 
payment: Maya! He's perfectly happy to kidnap her when 
a trade cannot be arranged, but he hasn't counted on her 

power of molecular transformation. 

Screenplay: Thom Keyes. 

Guest cast: Willoughby Goddard as Taybor. 


After drifting through a multi-colored cloud in space, the 
Alpha crew is left incapacitated and depressed through 
loss of will. Eagle Six, sent out to track the cloud, 
mysteriously reappears on the moon's surface. Aboard is 
a huge terrifying creature which kills two security guards 
and survives the laser blasts from Tony and Bill's guns. 
The space cloud begins to take shape; it's a planet, and it 
intends to take over Alpha. The monstrous creature 
seems unstoppable: Maya transforms herself into animal 
after animal in an attempt to subdue the thing— and final- 
ly attempts to make herself a micro-organism and infect 
the creature from within. 
Screenplay: Charles Woodgrove 
Guest Cast: none 


The moon is under intense gravitational attraction from 
what Koenig fears is a black hole— when the Swift, a 
spacecraft claiming to have come from earth— lands at 
Alpha. Aboard there is only a robot; the men are long 
since dead. The robot identifies itself as "Brian" and, 
though at first seemingly harmless, kidnaps Koenig and 
Russell and takes them to the planet where his crewmen 
died. Maya and Tony plan a rescue mission— not knowing 
that Koenig has discovered the source of the gravita- 
tional disturbance, while on the planet with a lethal at- 

Screenplay: Jack Ronder 
Guest cast: Bernard Cribbins as Captain Michael 


A planet surrounded by concentric rings of moons is 
sending violent energy beams into space— and causing 
serious damage on Alpha . . . which is being drawn into a 
collision course with the planet. The closer they get the 
more devastating the effects of the beams. Alan, Maya, 
and Koenig take off in Eagle One to investigate. They at- 
tempt to land on one of the moons, then are forced by arcs 
of electricity to head for the planet itself— where they 
discover a race of giant chlorine-breathing beings sleep- 
ing in a chrysalis state while their automatic defense 
system protects them. Koenig fires his laser at the sleep- 
ing monsters . . . and wakes them up. 
Screenplay: Tony Barwick 
Guest cast: Ina Skriver as A, Sarah Douglas as B 


Patrick Osgood and his excavation team are underground 
searching for minerals, planting charges of hyper-nitro— 
when suddenly a series of explosions hurls Osgood into 
what seems a Dali-esque hallucination on the moon's sur- 
face. He sees his wife, Michelle, in a great four-poster 
bed— dying. Osgood believes he has seen the future, and 
that Alpha is doomed. Sensors detect a steady rise in 
temperatures at Alpha . . . the hyper-nitro is taken to 
cooler underground storage . . . Osgood goes insane . . . 
Eagle One enters a fire storm . . . and the Alphans come 
face to face with the aliens who have been creating this 
hell in space. 

Screenplay: Anthony Terpiloff 

Guest cast: James Laurenson as Patrick Osgood, Pamela 
Stephenson as Michelle Osgood 

ln"Metamorph," Maya's father 
is the overly zealous inventor of a 
biological computer with which he 
hopes to rebuild his dead world. 

An Eagle ventures from the relative 
safety of Moonbase Alpha and heads 
into the dangers of uncharted space. 

Buster Crabbe, the Olympic swimmer turned actor 
who played Flash Gordon, has recently been touring 
colleges to lecture on his legendary character. An 
imaginative pornographic satire. Flesh Gordon, is 
currently titillating adult audiences across the coun- 
try. And it was PBS— the high-brow educational 
television network— that opted to run all the 
episodes of all three Flash Gordon serials . . . which 

are challenging the major networks for ratings in 
some areas! If it seems peculiar that such a primitive 
epic could gain a new fan following in our age of real 
space travel— then return with us now to those thrill- 
ing days of 1936 . . . 


On the Planet 

of Sophistication 

ByGARYGERANI turn on extra imagination and fake 

Back in 1936, Universal Pictures— a 
champ among serial makers— had 
never made an outer-space film of 
any kind. And here they faced com- 
mitting to celluloid the equivalent of 
a four-and-a-half hour sci-fi epic. On a 
shoestring budget. 

They had decided to serialize Alex 
Raymond's comic-book stories of 
Flash Gordon— & splendidly drawn 
character in a breathtaking fantasy 
world of the future. "Camp" was a 
concept utterly alien to the 1936 
mind; they believed: if you're going 
to do something, you take it on its 
own terms and do it right. Or you 


The space hardware, futuristic 
cities, special effects, crowd scenes, 
even the costumes were impossibly 
expensive. And they had no lead ac- 
tor charismatic enough to work for 
the modest fee they could offer. 

The actor problem was solved for 
them as soon as Buster Crabbe 
walked into the Universal casting of- 
fice. He was Flash Gordon. 

Crabbe had been an Olympic swim- 
mer turned lawyer (would you believe 
he had his law degree when he played 
Flash?) who had done theatrical work 
in college. In 1932 he made a grade-B 
adventure, King of the Jungle, in 


which he played a Tarzan-like charac- 
ter, and the next year, he played the 
Ape Man himself in Tarzan the 
Fearless. Crabbe was already flirting 
with fame. 

So why was a successful actor will- 
ing to take the Flash Gordon role? He 
liked the comic hero— had, in fact, 
kept up with Flash's exploits avidly. 
And he knew that he was right for 
the role and that the role was right 
for him. 

The problems of settings and space 
hardware were solved nearly as easi- 
ly: Universal simply bought from 
20th Century-Fox the left-over props 
from a musical fantasy, Just 
Imagine, which had come out the 

previous year and fizzled. They also 
bought whole sections of footage 
from the film! 

That famous Flash Gordon space 
ship was one of the props they 
bought— both the miniature and the 
full-scale mock-up. They then used 
what was left of the set-and-prop 
budget to design and build other 
machinery and sets that matched 
(roughly) the designs from Just Im- 
agine. Hence, the serial lacked the 
super-sleek ships of the comic 
drawings— but did have an integrity 
of design. One of the scenes they 
transplanted bodily from Just Im- 
agine was the extravaganza of wor- 
shipful maidens and the Great God 

We are indebted to King Features Syn- 
dicate, Inc. for permission to reproduce 
these wonderful examples of Alex Ray- 
mond's superb cartoonery. This material 
was supplied by Woody Gelman who, in 
cooperation with King, has published 
several beautiful volumes of original Flash 
Gordon strips, and we wish to thank him 
for his kind cooperation. If you can't find 
these books in a local store, write: Nos- 
talgia Press, Inc., Box 293, Franklin 
Square, N.Y. 11010. 

Tao! This, and other "stolen" 
footage, dictated the style of in- 
teriors for the various palaces and 
subterranean escape routes. 

Of course many of the Flash Gor- 
don trappings were invented just for 
the serial: the Gyro-ships (about two 
feet in diameter), flying monkey-men 
(both miniatures and costumed men 
on piano wires), models of floating 
and submerged cities, ray guns, 
throne rooms, etc. Being untrained in 
the methods of filming miniatures, 
they opted for a system wherein the 
model space ships hung stationary, 
while a background of clouds moved 
behind them. 

The Flash Gordon producers raided 
the Universal storeroom for reject 
costumes and designed others to con- 
form to the items they were able to 
get for nothing. 

The music is a remarkable hodge- 
podge that works astonishingly well 
much of the time. They took "free" 
stuff from serious composers (largely 
Liszt— as The Lone Ranger on radio 
was doing) and borrowed whole sec- 
tions from the recorded scores of The 
Bride of Frankenstein (by Franz 
Waxman) and The Invisible Man (by 

Yet the one element present-day 
critics praise about the serials is their 
originality. And it's true. 

Never before had such wholly im- 
aginary flights of fancy been offered 
in cliff-hanger serial form. And of- 
fered not only for the suspense plots 
but also for fun. Viewers are likely to 
forget the ludicrous speeded-up fight 
scenes, but the wild laughing image 
of the boisterous King Vultan doing 
shadow pictures on the wall for Dale 
Arden . . . that's an image that will 
linger on in memory. 

While the western, mystery, and 
super-hero serials often built their en- 
tire climaxes around fist fights, 
Flash was reserving his strength. 
The hand-to-hand combats in Flash 
Gordon were either tossed off mid- 
episode or were constructed to be 
weird contests requiring in- 
genuity more than brute force. 

And the bizarre anachronisms! 
Castles, warriors, dragons, spears- 
all the images of traditional fan- 
tasy—interwoven with space ships 
and ray guns. It was possible because 
of the children's storybook approach 
to plot: evil villains, true-blue heroes 
and wild larger-than-life perils. But in 
Flash Gordon, Ming the Merciless 
loved his daughter, and all- American 
Flash made some stupid mistakes. 
There was a rounding-out of the 
characters unlike that in other' 

The traces of contemporary reality 

that did appear had strictly adult ap- 
peal: Ming was an oriental, a reflec- 
tion of the "Yellow Peril"— while 
King Vultan was based on Wagner- 
ian Germany. In 1936, the United 
States was still trying to cooperate 
with the dangerous Nazi state— so 
Vultan ultimately became Flash and 
Dale's friend. 

Flash was college America personi- 
fied; Dale was young womanhood in 
all her 1936 purity; Zarkov was the 
man of intellect. All of them symbolic 
stereotypes and yet flesh and blood. 

Most important, Flash Gordon was 
intended as light entertainment. 
Even back when it was new, there 
were built-in laughs and built-in 

delights. Today, perhaps unfortu- 
nately, there are laughs that were 
never intended— due to some 
"wooden" acting, some pretty sappy 
dialog, and some technical areas 
where the filmmakers' imaginations 
could not quite make up for the lack 
of funds. 

But there are viewers today who 
recognize the sense of awe implicit in 
the Flash Gordon stories, the in- 
nocence suggested by comic-book 
good-guys always striving to do the 
right thing, and the picture of a 
fabulous world in which science is a 
shiny new toy. 

This is the universe of Flash Gor- 




The 1936 Universal Serial 



Our world is doomed! Flash Gordon, Dale Arden and Dr. 
Zarkov board the doctor's rocket plane and speed to 
Planet Mongo in an attempt to divert the runaway world 
from its collision course with the Earth. After escaping 
gigantic lizards on the planet's surface, the Earth party is 
brought to the palace of Ming the Merciless, self- pro- 
claimed Emperor of the Universe. Ming's advances 
toward Dale lead an angered Flash into a scuffle with the 
palace guards and finally to a bout with three vicious, 
hate-crazed monkey-men! After besting them, Flash is 
joined by Ming's love-struck daughter, Princess Aura, 
and both plummet through a trap door to an uncertain 
fate below . . . 


Saved from both the fall and the hungry Dragon of Death 
by a net, Flash and Aura race through the underground 
tunnels while eluding Officer Torch and his soldiers. Aura 
then returns to her father and tries to convince him to 
give the Earthman his freedom while Flash, now wearing 
his familiar Mongo costume, engages in an air battle with 
a fleet of Gyro-ships. After the confrontation, he 
befriends the Lion Man,Prince Thun, and the two speed to 
the rescue of Dale, who seems doomed to become Ming's 
bride. But on his way to stop the marriage ceremony 
Flash is caught in the deadly grip of a giant lobster-like 
dragon called the Gocko . . . 


Using a ray gun, Thun saves Flash from the Gocko and 
the two burst into the palace and rescue Dale. A trap 
door, however, drops Flash and Dale into the ocean and 
both are captured by the Shark Men. After traveling to 
King Kala's palace by hydro-cycle, Gordon challenges the 
undersea ruler to a fight. Flash proves to be the first man 
ever to defeat Kala in physical combat. But the King suc- 
ceeds in tricking his adversary into a tank filled with 
water. Emerging from a secret panel is the dreaded Oc- 
tosac, a tentacled creature that threatens gruesome 
death . . . 


Princess Aura and Thun force King Kala to drain the 
water from the tank, saving Flash's life. Aura then leaves 
Thun to keep an eye on the King while she rushes to the 
tank. Dale, meantime, has come to after fainting at the 
sight of Flash in trouble and joins Thun. Scuffles ensue as 
the Earthman, now fully revived from his underwater or- 
deal, battles Kala's henchmen. But before Flash can stop 
her misguided act, Aura destroys the oxygen supplying 
machinery, and Kala's underwater palace— with all its 
inhabitants— is threatened with destruction . . . 


An ally of King Kala, Ming raises the submerged palace 

from the water and saves the lives of everyone within it. 
Once again on the surface of Mongo, Flash finds himself 
separated from his friends, who are captured by the 
Hawk Men and taken to their leader, the boisterous King 
Vultan. Meanwhile, Prince Barin, a new ally of the Earth 
people flies them to the sky city of Vultan in his rocket- 
ship, but the craft is threatened by the heat of the Hawk 
Men's melting ray . . . 

Rushing to rescue Dale, Flash only succeeds in getting 
himself captured again. Meanwhile, Emperor Ming ar- 
rives to fetch both his daughter. Aura, and his afianced 
bride, Dale Arden. While the guards in the Atom Furnace 
Room aren't looking, Dr. Zarkov manages to connect an 
electrical wire to a shovel. Flash decides to use it for his 
escape and throws the shovel into the Atom Furnace, 
blowing it up . . . 


The Hawk Men guide Barin 's immobilized rocket plane 
safely into the city where Vultan orders both Flash and 
Barin into the Atom Furnace Room as toilers, while 
Zarkov is enslaved and sent to the laboratory. Vultan, 
meanwhile, elects to keep Dale as his bride. Princess Aura 
convinces the Earth woman to pretend to like Vultan so 
that Flash's life may be spared. After an elaborate feast, 
the King decides to test Dale's loyalties by observing her 
reactions to Flash Gordon's torture . . . 


The explosion caused by the destruction of the Atom Fur- 
nace knocks Vultan's sky-city off balance, and the King 
gives his word that the Earth people will be freed if 
Zarkov can remedy the situation. A new ray invented by 
the doctor does just that. But Ming, by right of being 
Emperor of the Universe, calls for a tournament of death 
before the Earthlings can be released. First, Flash fights 
the Masked Swordsman of Mongo— actually Prince 
Barin, who hoped to save Flash by wounding him. The 
Earthman's second opponent is more formidable: a huge- 
gorilla-like creature called an Orangapoid . . . 


Vultan stops the torturing of Flash Gordon and gives the 
Earthman to Princess Aura! She in turn takes Flash to 
Dr. Zarkov, where he is revived by an electro-stimulator. 


With Aura's help, Flash vanquishes the Orangapoid. The 

victors of the battle are then invited to Ming's palace 
where they will choose their brides. Aura, plotting to 
steal Flash for herself, consorts with the High Priest and 
slips the Earthman "drops of forgetfulness, " which also 
render him unconscious. Moving the sleeping Flash 
through a tunnel guarded by a huge Fire Monster now 
sleeping, Aura is betrayed by the High Priest, who rings 
the sacred gong to awaken the monster . . . 


Dr. Zarkov destroys the Fire Monster with a grenade and 
rescues Flash. But when the day arrives for him to choose 
his bride, Flash remembers no one! Aura seems to be win- 
ning the dazed Earthman's confidence when Barin 
knocks him out and takes him to Zarkov's laboratory. 
There Gordon's memory is restored. Ming, however, will 
take no more chances! He orders Flash Gordon executed 
at once and, as Torch and his guards prepare to fire upon 
him, Flash miraculously becomes invisible . . . 


Zarkov explains that the machine Flash was standing in 
front of has rendered him invisible. Flash uses this to 
teach Emperor Ming a lesson, throttling his soldiers with 
unseen hands. Dale, meanwhile, has been taken to a place 
of safety in one of the tunnels. But a vengeful Princess 
Aura looses a deadly Tigron in Dale's direction . . . 


Flash arrives just in time to save Dale from the claws of 
the deadly Tigron. Barin, meanwhile, has convinced 
Princess Aura to help the Earth people escape. Ming is 
persuaded by his daughter to let them leave Mongo, but 
then he decides to destroy them after all! Barin agrees to 
meet his friends in a rocket ship by the Lake of Rocks, but 
he is captured and replaced by one of Ming's soldiers— 
who fires upon the unsuspecting Flash and his friends . . . 

Chapter Thirteen: ROCKETING TO EARTH 

Surviving the attack from the rocket plane they believed 
was piloted by Prince Barin, Gordon's party journeys 
through the tunnels beneath Ming's palace and discovers 
Barin a prisoner. After rescuing him, they return to the 
laboratory, but are once again captured by Ming's 
guards. An attack from Thun and his Lion Men disrupts 
Ming's plans. Realizing all is lost, the Emperor races into 
the mist-shrouded chamber of the Great God Tao, where 
he perishes. Flash, Dale, and Dr. Zarkov prepare to leave 
Mongo for Earth, and bid farewell to their friends. But a 
time bomb planted aboard Zarkov's rocket plane by the 
crafty High Priest threatens to destroy the Earth party. 
Fortunately, they discover it in time! The three brave 
space travelers return to their native planet ... as heroes. 



In keeping with Hollywood's trend toward nostalgia escapism, 
those fearless, larger than life, comic book crusaders of yesteryear 
are making a comeback. Both movies and TV are swamped with pro- 
jects based on the thrilling pen and ink drawings of America's 
favorite comic creations. And far from the campy, self-destructive 
parodies that sprang from the Batman video craze a decade ago, 
most of these new incarnations are being played straight! 


Urandaddy of all muscle-popping 
heroes and walkaway champ of the 
bunch is Siegal and Shuster's Super- 
man— Kryptonian by birth but 
Earthman by upbringing. The Man 
of Steel inspired a rash of cartoons 
(the most effective being the 
Fleisher- Paramount creations during 
the Forties), the famous TV series 
starring George Reeves, the Kirk 
Aylan movie serials, and more recent- 
ly a Broadway play. 

Now, with a super-budget behind 
him, he returns to the big screen in 
Paramount's much-talked about 
Superman, the Man. Mario Puzo, the 
man who wrote The Godfather, is do- 
ing the screenplay, while directing 
chores are being handled by veteran 
James Bond director Guy Hamilton. 

Who will be playing the Man of 
Steel in this new contemporary 
adventure? Would you believe . . . 
Burt Reynolds? How about Robert 
Redford? James Caan? All three have 
been considered, although at press 
time no decision has been reached. 
However, the role of Superman's 
father has been cast: Marlon Brando. 

Superman, of course, is the 
flagship title (and character) of Na- 
tional Comics, home of Batman, The 
Flash, Wonder Woman, et al. Despite 
this impressive collection of classic 
crusaders, National is still a rather 
embarrassed "number two" in the 
comic book sales sweepstakes, trail- 
ing behind Stan Lee's more vibrant 
Marvel Comics Group. 

The flagship fellow of this latter 
organization is The Amazing Spider- 
Man: in civilian life a goodtime col- 
lege Joe named Peter Parker who was 
bitten by a radioactive spider some- 
time back in his senior year in high 
school. Since then he's been guarding 
Manhattan in a red webbed outfit, 
clobbering weird villains and becom- 
ing something of a cult figure. 

It took years of negotiations, but the comics event of all time finally 
happened: Superman and Spider-Man in the same magazine. Not only was 
it difficult to cross from DC-Land to Marvel-Land, but there was nothing 
small about the comic, including the size. "Superman vs. the Amazing 
Spider-Man" is the longest comics story in history — over ninety pages. 


"we're almostx 

out. t. can €.66 n 

the brush covering 

the tunnel exit. / 

Above: What happens when you find 

this guy capable of leaping tali 

buildings in a single bound? You take 

six-million dollar Steve Austin and 

give him his own comic, that's what! 

Right: Barbarella. believe it or not, 

first appeared in the French daily 

newspapers, just like Dick Tracy. 

Lovely Jane Fonda appeared in the 

title role of this very fanciful 

film along with stars like Marcel 

Marceau and John Phillip Law. 

v ^ 






'~K:/ * 



* \ 




Below: Lynda Carter appears this 

fall in the title role on ABC's The 

New, Original Wonder Woman. Most of 

the episodes will be featured on 

Movie of the Week Double Features. 


Above: The new movie Superman, the 

Man is still looking for a leading 

man, but Mario Puzo (The Godfather) 

is writing the script, and Marlon 

Brando is playing Superman's father. 

Sounds like a great beginning! 


Above: Raquel Welch (shown here in 
costume for One Million B.C.) should 
Make a spectacular Sheena for the 
upcoming film version of the 1940s 
comic, Sheena, Queen of the Jungle. 

Although Spider-Man has already 
been brought to video life via a series 
of cartoons and a live-action stint on 
PBS' The Electric Company, Stan 
Lee has announced a major motion 
picture about Spider-Man to be pro- 
duced by Steven (Fritz the Cat) 
Krantz. Few details are known, other 
than it will be a live-action ex- 
travaganza, with a reasonably high 
budget. Another Marvel super-star, 
The Incredible Hulk, is also slated for 
a movie adaptation. 

And while male superfolk engage in 
fisticuffs and violent brawls, their 
female counterparts have suddenly 
leapt into the field with a startling 
enthusiasm. Indeed, there is a steadi- 
ly growing trend in America, pos- 
sibly inspired by the woman's lib 
movement, toward the super-strong 
female. On TV, The Bionic Woman is 
a smash hit and a miniskirted super- 
girl named Isis has proved to be the 
most popular personality on Satur- 
day mornings. 

It was inevitable that the exciting 
comic book character who started 
this sub-genre would finally come in- 
to her own in a new, spectacular way. 
Watch out, Clark Kent . . . make way 
for Wonder Woman! 

Charles Moulton's famed lasso- 
twirling, invisible-plane flying, 
bullet-deflecting supergal has been 
given the royal television treatment 
by Warner Brothers in a series of 
pilots and specials called The New, 
Original Wonder Woman— boasting 
a perfect physical beauty, Lynda 
Carter, as the lead. 

The studio originally tried to get 
the project off the ground a few years 
back with a disastrous feature pilot. 
Afraid of repeating the same campy 
mistakes of TV's Batman, they opted 
for an equally inappropriate super- 
slick, James Bond spy flavor, and 
cast Cathy Lee Crosby as a mod 

Right: one of the most delectable 
and deadly (to her other-worldly 
enemies) of modern comic heroines, 
Vampirella has developed a sensa- 
tional following in a very short 
time. Now to be made into a full- 
length motion picture, Vampirella 
will be played by a former Playboy 
Playmate Barbara Leigh. Peter Cushing 
will co-star as Vampirella's loyal 
friend, Pendragon the magician. 

Wonder Woman. The idea, while 
good on paper, backfired in actual 
performance. So it was back to the 
old, Nazi-clobbering heroine of the 
Forties, decked out in her familiar 
satin tights. 

While certain elements of camp pop 
up every now and then, the producers 
of the The New, Original Wonder 
Woman are careful never to hu- 
miliate or make fun of their heroine 
for the sake of a cheap laugh. In addi- 
tion to the splendid Ms. Carter, an 
equally inspired bit of casting is the 
talented Lyle Waggoner as Major 
Steve Trevor, WW's sweev heart and 
frequent hero-in-distress. 

Though piloted to ABC, they chose 
to pick up The Bionic Woman as a 
regular outing instead, and seemed 
reluctant to buy another "super- 
woman" type program. Their option 
on WW was to end this coming No- 
vember. If ABC hadn't bought it by 
then, NBC had a firm order in for 13 
episodes to be run on their network. 
ABC came through in July, however, 
and ordered 11 hours of Wonder 
Woman. Oddly, there will be some 
hour-long episodes and some movie- 
length specials in the package. 

Another comic book female on the 
comeback trail is Sheena, Queen of 
the Jungle. Womandom's cap- 
tivating answer to Tarzan will be em- 
bodied by Hollwyood's last great sex 
symbol, Raquel Welch, in a high- 
budget adventure yarn lensing now 
for Universal. Sheena, of course, 
Wears a skimpy leopard skin, bone 
bracelets, flashy blonde hair (Rac- 
quet's will have to be dyed) and a 
superstructure that is amply dis- 
played. In addition to the popular 
comics feature, the character 
spawned a short-lived television 
series in the early fifties, with Irish 
McCalla as Sheena. 

Above: In spite of the outrageously "campy" treatment. Batman (Adam 
West) and Robin (Burt Ward) lived and fought through several seasons 
before succumbing to that fatal illness: television over-exposure. 


Below: Recently, there has been a reversal of the adaptation process. 

Comic books are being made from popular films and television shows. 

The comics based on the Planet of the Apes movies are perhaps the best known. 

Left: Sheena, Queen of the Jungle, 
appeared in 1938 in Jumbo Comics, 
and later graduated to her own title. 
Ahead of her time, in several ways, 
she strode through the forest always 
on the lookout for white exploiters 
of the inhabitants and purity of 
her vast and savage jungle domain. 

Combining several imaginative 
worlds, there's a female of a very dif- 
ferent caliber: super-sensual as well 
as super-powered, Vampirella is a 
scantily-clad bloodsucker from a 
planet named Draculon who fights in- 
tergalactic bad guys and her own 
yampiric urges. 

The comic book, a large-sized black 

and white magazine, is produced by 

Warren Publishing, an outfit known 

for its classy merchandise. Now Vam- 

| pirella (created in the early sixties) is 

going to be a major motion picture, 

with ample doses of sex, horror, 

hokum, and violence. 

Famed chiller company Hammer is 

I producing the movie in England, 

I with veteran frightmaster Peter 

| Cushing as Vampirella 's platonic pal, 

I Pendragon the magician. Fleshing 

I out the lead, literally and figurative- 

J ly, is a lovely young thing named 

I Barbara Leigh. The plot, featuring 

zombies, aliens, spies, and wacky 

villains.seems to be a parody of both 

horror and secret agent flicks, with 

sex thrown in for good measure. One 

I thing's tor certain: the fetching Ms. 

I-eigh, decked out in her extremely 

abbreviated Vampirella outfit, is one 

| of the most stimulating images ever 

to pop off a comic book page and onto 

the screen. 

Several recent ambitious attempts 
to recapture the spirit of comics on 
films have bombed. Most notable 
was George Pal's much-heralded Doc 
Savage, the Man of Bronze. Warner 
| Brothers was so sure it was a loser 
that they hardly distributed it to 
theaters at all, passing it on to cable 
TV after the first few weeks of 

A main reason for this failure 
seemed to be the hopelessly campy 
treatment of the material— so embar- 
rassing it sent enthusiastic comic 
fans at the preview cringing from 
their seats! 

The "straight" handling of TV's 
Six Million Dollar Man and Bionic 
Woman shows seems to have con- 
vinced Hollywood that lasting suc- 
cess depends upon taking a super- 
adventure on its own terms— not 
upon ridiculing it. 

If so, we can have high hopes for 
these newest comic heroes and 
heroines being brought to life for 
television and movie screens. ^ 

(Continued from page 8) 

of $25,000 was mentioned. 

So far, it seems as if the subject has been dropped. But 
the incident probably prompted so much coverage, on local 
TV and in the tabloids, that the expense of a quarter of a 
million on an additional Kong statue became unnecessary. 

But let's get back to the main event. Having once laid 
out the great simian in his bed of simulated broken 
flagstones, the producers then had the problem of keeping 
their 45,000 invited spectators from touching and possibly 
damaging the guest-of-honor's crepe hair and rubber 

That problem was partially solved by another problem: 
no one could tell who was who in all the confusion. There 

were real cops and movie cops, real reporters and film 
crews, and fake reporters and film crews. It looked like 
there were twice as many officials as there really were. 

Crowds will be crowds, however, and some fearless in- 
dividuals did reach the stricken model. Kong was 
touched— but not damaged. The only blood spilled during 
the filming was a mixture of Karo syrup and red food, col- 
oring that was spread over the ape in strategic places. 

There's just something about the King Kong story that 
leads one to think in gigantic terms: 

The largest ape falls from the tallest towers in the 
largest city, is seen by the largest crowd and is recorded 
on film for a movie that costs $22 million dollars. Still 
thinking big, Paramount has already booked the film into 
over a thousand first-run theaters— all over the world. 

Perhaps an awareness of the astronomical proportions of 
the project is what made that unique glow— like a cold fire 
over Wall Street— so tantalizing to us mere mortals who 
witnessed the event. 


Bristol-Myers has committed $1.3 million for the filming 
of 24 30-minute shows to be called In Search of . . ., which 
will tackle popular "unexplained" phenomena with new 
research and extravagant film techniques. Leonard Nimoy 
has been signed to host the series, which will include 
segments on UFO landings, the Loch Ness monster, Drac- 
ula (filming in Hungary), voodoo, ESP, Stonehenge, miss- 
ing Nazi treasure, and witchcraft. Bantam Books has com- 
missioned the show's producer, Alan Lansburg, to pen six 
books based on the scripts; the first will be on lost civiliza- 
tions, the second on extraterrestrials. 


Richard Burton narrates and The Fighting Machine pro- 
vides a rock background on a new double-LP based on 
H.G. Wells' War of the Worlds. Rock singer David Essex 
also appears in this updated telling of the famous Martian 
invasion. Record producers are Jerry and Jeff Wayne, 
with the music composed by Jeff. Due in record stores in 


The Wells novel that the new film, Food of the Gods, is 
derived from was an unambiguous warning of overpopula- 
tion, ecological imbalance, and famine— written in 1904. 
It's all about a substance that could "solve" everything— 
by increasing the size of food substances. Of course, 
things get out of hand. 

Want to increase your terror while viewing, or thinking 
back on, the movie? Consider the following recent items of 
real news: 

A man in northern California has been using hormones 
to increase the size of his chickens. A four-year-old boy 
was spurred to death on his farm by a 30-pound rooster. 

A "thing" was spotted near Camp Pendleton in south- 
ern California. It was at first thought to be a mountain 
lion, but it turned out to be a 100-pound rat. 

A type of grasshopper in Vietnam is able to ward off its 
enemies by secreting a chlorinate compound it ingests 
from a man-made chemical weed-killer. 

The notorious "killer bees" of South America are the 
result of cross-breeding the honey bee with a more vicious 
African strain. The cross-breeds have been known to kill 
both animals and men— and are swarming toward the U.S. 
border at 200 miles a year. 

None of this proves that man shouldn't "tamper" with 


nature in order to improve his lot . . . but it sure indicates 
that things can get out of hand! 


Paramount's The Big Bus is an outrageously funny 
satire on practically every disaster movie ever made— from 
Titanic to Earthquake— with more than a dose of Airport 
thrown in. The Big Bus is about the maiden run of 
"Cyclops"— of a three-story 106-foot-long nuclear-powered 
passenger bus — from New York to Denver. The bus has a 
bowling alley, swimming pool and cocktail lounge; and be- 
fore the disaster climaxes, it's been bombed twice by a 
mad industrialist and an old Chevy pick-up has crashed 
into the cocktail lounge. 

The bus— the largest prop ever used in Hollywood, the 
filmmakers say— cost $250,000 and weighed 75 tons. It 

was designed by Joel Schiller. "I thought the guys on 
Jaws had their problems with a mechanical shark," says 
Schiller; "I had a 75-ton Cyclops! The four rear wheels 
holding up the jet engine are nearly five feet high and 
weigh 1,100 pounds each. I didn't find out how much the 
bus weighed in total until I got the news that we had to 
hang the whole thing over a cliff with people aboard." 

The finale is truly amazing. There's not a trace of "blue 
line" to indicate any trick photography. 

Schiller explains: "I finally used a 125-ton crane with 
heavy-duty cable to pick up the bus and suspend it over a 
dam site in Big Tujunga Canyon. Then we had to hide this 
incredibly large crane with trees. 

"After I had spent the $250,000 budget for the-bus, I 
had to make it as watertight as a VW bug: I found out at 
the end of the script, we had to flood the passengers up to 
their waists in Coca Cola, Fresca, and donuts." 

On-the-set experiences with the big prop proved almost 
aa funny as some of the events in the movie. The day the 
bus was to be tested, it was driven out of Paramount Stu- 
dios at 9:00 a.m.— on its way to the Los Angeles racetrack 
for a trial run. It broke down at 9:02. The engine was com- 
pletely burned out. During filming, when a rigged "bomb" 
exploded— as the bus was careening down the highway— 
the rear of the # bus was actually blown off and had to be 
repaired, at a cost of $10,000. One day, high in the moun- 
tains, the bus engine began to run hot; fearing another 
burnout, the chief mechanic poured in the only liquid on 
hand: three gallons of Kool-Aid. It worked. 

Miraculously, out of 32 tires, not one flat was ex- 

The Big Bus stars Joseph Bologna, Stockard Charming, 
John Beck, Jose Ferrer, Ruth Gordon, Harold Gould, 
Larry Hagman, Lynn Redgrave, Sally Kellerman, and 


In the last issue of STARLOG we announced an event 
called SF Expo '76, organized by a New Jersey 
corporation— Science Fiction Services, Inc. with Jim Har- 
vin as president. 

The exposition was promoted as the greatest sci-fi event 
ever, but that's all it was: promotion. A few days before 
the scheduled dates, we were informed that the activity 
had been "postponed," and a refund was offered to all who 
had prepaid. 

STARLOG, in order to participate in this event, had 
purchased several memberships as well as a dealer table. 
We made numerous requests for our refund, but to this 
date, we have not received a reply. We can only assume 
that the parties involved are unable or unwilling to meet 

this financial obligation. 

This is the kind of group we do not want to support. 

The convention circuit is littered with "get rich quick" 
schemers, drooling for the quick cash that fans are willing 
to dish out for love of "Star Trek" and science fiction in 
general. Some of these guys even have good contacts and 
creative ideas, but usually their organization lacks depth. 
They are too easily toppled, and their supporters are the 

STARLOG suggests that you be wary with your money, 
since it is impossible for us to investigate all of the public 
events we will announce in Log Entries. 

Any other parties who have similar claims against 
Science Fiction Services, Inc. are invited to write our 
publishers with details, in the hopes that we may jointly 
recover our monies. 


Ever wondered why there were so few of the splendid 
animated Star Trek episodes made? And why it was 
canceled? A recent item in Hollywood Reporter sheds 
some light. It has to do with the currently running 
Shazam and Isis programs. While CBS called both "the 
superstars of Saturday morning programming," they con- 
tracted for only seven Isis and six Shazam for the new 

(Continued on page 56) 




• Over 100 RARE and exciting photos (many in full color) in 
each collector's edition. 

• Special catalog guides to movie and TV show episodes. 

• "Star Trek" news and features in each issue. 

• Interviews with performers and behind-the-scenes people 
from television and motion pictures. 

• Photo articles on all-time SCI-FI greats as well as previews 
of upcoming SCI-FI movies and TV shows. 

• LOG ENTRIES keeps you up to the minute with the news of 
books, records, films, special products, conventions, etc. 

• Original illustrations and writings by some of the most 
popular names in the SCI-FI field. 

• STAR TEASERS puts your brain to work untangling puzzles 
and games of SCI-FI trivia. 

• COMMUNICATIONS talks with readers from around the 
world. CLASSIFIED INFORMATION keeps you in touch 

the action. VISIONS pictures rare and wonderful views of the 
past, the present, and the shape of things to come. 


(Premiere Issue) 
August 1976 


November 1976 


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(Continued from page 54) 

season. The producers of the two shows, Filmation (who 
did Star Trek), retorted with an indignant: "But we made 
more than that last year, and you didn't know what you 
were getting!" Then came the sad truth: when a show is 
that successful, CBS explained, its episodes can be run 
over and over. If the kids like them, they'll watch them 
again— so fewer originals are needed. 


Gene Roddenberry received an honorary Doctor of 
Literature Degree at the commencement ceremonies of 
Union University of Los Angeles in June. 


Maurice Carter, production designer for both the current 
At the Earth's Core and last year's The Land That Time 
Forgot, said he found the new Burroughs story more dif- 
ficult to bring to life. "For Land, I was dealing with 
documented prehistoric monsters of known appearance 
and characteristics. In Earth's Core, it is all Burroughs' 
images, and I have had to translate them for the screen 
purely from the descriptions from the pages of his book." 

Carter created various monsters and man-eating plants, 
the race of half-human Sagoths, and a dynasty of giant 
lizard-like birds who keep a tribe of humans enslaved. 

In one of the movie's most spectacular scenes, 
bystanders and well-wishers wave as the great Iron Mole 
cuts into the mountainside that will be its portal to the 
world at the earth's core. 

The film— currently playing across the country— stars 
Doug McClure, Peter Cushing, and Caroline Munro. 

American International's AT THE EARTHS CORE 


Although the definitive box-office figures are not yet in, 
MGM is counting on the success of Logan's Run— in spite 
of unenthusiastic critical notices. MGM has announced 
that they have earmarked $25 million for four new sci-fi 
epics (titles as yet unannounced). According to the 
Hollywood grapevine, one of the four will be a sequel: 
Logan's World. 



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$7,000,000 NESSIE 

It's a wonder nobody's done it before— although in a 
way they've been doing it ever since The Creature From 
the Black Lagoon. Now in pre-production for release in the 
summer of '77: Nessie— the story of the Loch Ness 
monster. Screenplay by Bryan Forbes; produced by David 
Frost, Euan Lloyd and Michael Carreras, in association 
with Toho. The film appropriately capitalizes on current 
publicity concerning a bona fide Loch Ness scientific ex- 
pedition being conducted under grants from the Academy 
of Applied Science and The New York Times. The leader of 
the real-life expedition, Dr. Robert H. Rines, said: "We 
think we have what it will take to get the kind of informa- 
tion zoologists and others need to identify what these 

(Continued on page 63) 


The real "invisible man" of science fiction movies is 

the music composer. Perhaps it's because when he 

does his work best, audiences don't notice; they just 

feel. But growing numbers of sci-fi fans do notice, 

and eagerly collect recordings of these film scores. 

Now, for collectors and appreciators. . . . 

The Music of the Spheres 


Shortly after the introduction of 
sound, it was discovered that 
■background music in drama can ac- 
complish what mere pictures and 
dialog can never do: involve the au- 
dience directly in the emotions of the 
characters and action. 

This has been of crucial importance 
in science-fiction. Often sci-fi stories 
could bog down in technical detail or 
impersonal events— if it weren't for 

the persistent music stressing the 
significance of the goings on. 

The most prolific composer for 
American motion pictures was Max 
Steiner— and he was also one of the 
best. He scored 155 films— including 
Now Voyager, The Fountainhead, 
Casablanca, and Gone With the 
Wind— but none of his scores was 

Above: Universal's Silent Running 

more influential than his herculean 
accomplishment for King Kong, in 

The score for Kong was one of the 
first to run the full length of the 
film— with key motifs for major 
characters, events, and moods. 
Steiner set the standard for creating 
suspense, terror, pain, love, and 
triumph ... all in an other-worldly 


In 1933, a limited-release album of 
King Kong was produced by Allied 
Records (Allied 1001). The record 
quickly disappeared, and today it's a 
terrifically high-priced collector's 
item. In 1960, there was a tantalizing 
five-minute bit of the Kong score in- 
cluded on an album called "Fifty 
Years of Movie Music" (Decca DL 
79079). In 1975, United Artists 
issued an interpretation of the score; 
unfortunately the Leroy Holmes or- 
chestrations did not do the music 
justice (United Artists UA-LA 

But there's a glorious suite of 
Kong music— properly orches- 
trated—currently available. It's on a 
record in the Charles Gerhardt film 
music series produced for RCA. The 
album is "Now Voyager— The Classic 
Film Scores of Max Steiner" (ARL 
1-0136); the Kong suite contains: 
"The Forgotten Island, Natives, 
Sacrificial Dance, The Gate of Kong, 
Kong in New York. 

Another significant score was writ- 
ten in 1935 by a young man who had 
scored his first film while still a music 
student— Franz Waxman. He added 
a dimension of sheer psychosis to 
movie music with his brilliant score 
for The Bride of Frankenstein. In 
places, it's positively hair-raising. 
The music was so perfect for sci-fi 


films that it was subsequently 
"stolen" and fitted into the Flash 
Gordon, Buck Rogers, and Radio 
Patrol serials. Charles Gerhardt was 
the first to record any of this score, 
and a wonderful piece from it now ap- 
pears on his "Sunset Boulevard— The 
Classic Film Scores of Franz Wax- 
man" (RCA-ARL 1-0708). The music 
so perfectly describes the creation of 
the female monster that you can 
close your eyes and see it! 

Things to Come, based on the H.G. 
Wells novel, was produced in 1936 
with Mr. Wells himself overseeing 
the project. Wells recommended a 
well-established British composer, 
Sir Arthur Bliss, for the job of 
underscoring the epic wars, plagues 
and a fantastic world of the future. 
Sir Arthur employed the stately and 
proud English music style to ac- 
complish the task. The music is huge. 
An abbreviated version of the score 
was just released on London Phase 4 
(SPC 21149) with Bernard Herrmann 
conducting an enormous orchestra. 
An earlier version conducted by Sir 
Arthur himself was released in 1958 
on RCA (LSC-2257) and again more 
recently on London Treasury Series 
in stereo (STS 15112)— and it con- 
tains some beautiful passages the 
thrilling Herrmann version omits. 

These three scores— Xing Kong, 
The Bride of Frankenstein; and 
Things to Come— comprise the foun- 
dation upon which most other sym- 
phonic scores for sci-fi have been 

In 1950, something new was added 
to the growing vocabulary of musical 
expression for sci-fi films: a sense of 
infinity. Leith Stevens accomplished 
it in his eerie score for George Pal's 
Destination Moon. Melodies are in- 
complete . . . dissonant chords swirl 
among the violins . . . rhythms are 
slow or non-existent . . . fragments of 
counter-melody flit through . . . the 
mode is neither quite major nor quite 
minor. The effect is perfect: it is a 
universe without walls and without 

Columbia Records released a ten- 
inch LP of Destination Moon in 1950 
(CL 6151), which these days is fetch- 
ing $40 to $70 on the collector's 
market! Omega Records put out 
another version, in stereo, around 
1960 (OSL 3), which is also rare. A 
few years ago, yet another pressing 
appeared (Cinema Records LP-8005) 
which can still be found at reasonable 
prices. Side two of the Cinema disc 
also contains some lost rarities: 
themes from The Time Machine, The 
Lost Continent, the David Rose 
"theme" from Forbidden Planet, and 

The next really new musical state- 
ment was made in 1951 by Bernard 
Herrmann. Herrmann added futurism 
to the sci-fi sonic vocabulary, with 
his wavering electronic score for The 
Day the Earth Stood Still. His music 
said, unequivocally, that the alien 
had come not only from another 
world but from an advanced civiliza- 

Herrmann combined a convention- 
al orchestra (with two pianos) with 
electronic violin, bass, and guitar, 
and two theremins (electronic tone 
producers). But the result is real 
music, not random "computer" 
sounds, and it's awesome just to 
close your eyes and listen to it! There 
is an excellent suite, conducted by 
Herrmann, on a superbly engineered 
London Phase 4 record, "The Fan- 
tasy Film World of Bernard Herr- 
mann" (SP 44207), which also in- 
cludes selections from Herrmann's 
exciting scores for Journey to the 
Center of the Earth, The Seventh 
Voyage of Sinbad, and Fahrenheit 

Herrmann's boundless ingenuity 
at orchestration offers an almost 
electronic sound even when he's deal- 
ing only with conventional instru- 
ments. Surely no composer can chal- 
lenge him for sci-fi effectiveness. His 
Mysterious Island, Jason and the 
Argonauts, and The Three Worlds of 
Gulliver are also available on London 

Phase 4 (SPC 21137). 

Ever since The Day the Earth 
Stood Still (and the later invention of 
the Moog Synthesizer) there have 
been more sci-fi scores with elec- 
tronic sounds than without. But no 
movie has carried the idea further 
than did Forbidden Planet in 1956. 

Louis and Bebe Barron devised the 
background for that CinemaScope 
flight of fancy. It wasn't music at all. 
The burbling, rumbling sounds sug- 
gested not only a futuristic society, 
but one so far in advance of our reali- 
ty that it was truly incomprehensi- 
ble! None of this background has 
been recorded, but there's an alleged 
theme by David Rose (MGM K 
12243, MGM E 3397, MGM 
SE-4271, and Cinema Records LP 
8005) which does incorporate the 
Barron sounds— but it ain't Forbid- 
den Planet. 

The score for The Andromeda 
Strain, 1971, also used unmusical 
sounds to excellent effect. The Gil 
Melle score is available (but hard to 
find) on Kapp (KRS 5513). 

There's one more element of sci-fi 
scoring that must be mentioned: 
popular music. 

Generally, pop, rock, and jazz ap- 
pears in films aimed at the high- 
school and college audiences. Usual- 
ly, such underscoring is disastrous— 
however good the music may be on 
its own terms. When the music con- 
tains repeating patterns of any 
kind— like rock rhythms or (heaven 
forbid) lyrics— the pacing of the film 
editing becomes "locked in" with 
musical patterns. Also, the very pur- 
pose of background music is to stress 
emotional aspects of the story. Emo- 
tions ebb and flow, rise and explode 
and dissipate; they don't do the Frug 
or the Charleston. Dance music 
works against the picture— not with 

makers' advantage to prevent their 
audience from feeling much of 
anything, in order to stress the com- 
edy. Barbarella's humpy score by 
Bob Crewe and Charles Fox was 
recorded by Dot (DY 31908). 

ian song and the end-of-the-world 
story considerably heightened the 
depressing nature of that film 
(Roulette SR 25098). 

However, Barbarella, 1968, had a 
rock score that worked perfectly 
well— because the film was not to be 
taken seriously. It was to the film- 

While not really science- fiction, the 
beautifully photographed movie 
based on Von Daniken's Chariot of 
the Gods had an unusually effective 
pop score. The music helped bolster 
the travelog-like filming, while offer- 
ing a pleasant entertainment apart 
from the pictures. When needed for 
dramatic effect, the score, by Peter 
Thomas, dropped its rock rhythms 
and soared into symphonic style. It 
was released on Polydor (6504). 

Peter Schickele's haunting score 
for Silent Running, 1972, relied 
heavily upon the pop culture of the 
late 60 's. The score contained semi- 
serious ecology protest songs— some 
of them with Joan Baez vocals. Ap- 
parently, Schickele hoped that the 
viewers would be in tune with the 
sentiments and music style of the 
time and that, therefore, their emo- 
tional understanding of the film's 
anti-pollution theme would be in- 
creased. But the score is now dated 
and often works against the poignant 
and melancholy emotions of the 
story. Divorced from the movie, 
however, the record is very inter- 
esting (Decca DL 7-9188). 

Most of the sci-fi music of the 60 's 
and 70 's has been some combination 
of the symphonic style of King Kong, 
the electronic futurism of The Day 
the Earth Stood Still, the "com- 
puter" sounds of Forbidden Planet, 
and the pop lingo of Barbarella. A 
number of these new scores have 
been inventive and beautiful, and are 
available on records: 

On the Beach, 1959, the doomsday 
movie made from Nevil Schute's 
novel, had a score by Ernest Gold 
that was essentially variations on a 
theme of "Waltzing Matilda." Sec- 
tions are wistfully beautiful, and the 
contrast between the cheery Austral- 

Master of the World, 1961, was 
scored by Les Baxter in a lilting lush 
style reminiscent of another Jules 
Verne movie score: Around the World 
in 80 Days, 1956, composed by Victor 
Young. Both scores stress that eu- 
phoric vertigo of balloon travel, but 
the Victor Young score is more am- 
bitious and varied. Master of the 
World was released on Vee-Jay (SR 
4000), and the very popular 80 Days 
music is still available in stores, in 
well recorded stereo, on Decca (DL 

2001: A Space Odyssey, 1968, had 
an original score at first, but after 
the Alex North music was recorded, 
producer Kubrick decided to use ex- 
isting serious compositions. In a few 
weeks, he made more people familiar 
with "Also Sprach Zarathustra" 
than had heard it since it was com- 
posed. Two volumes of music are 
available on MGM, which are more 
like symphony concerts than movie 
scores (because that's what they 
are)-(MGM SlE-13 ST and 
SE-4722). The same scoring techni- 
que was used for Rollerball, 1975, the 
classics for which are compiled on 
United Artists (UA-LA 470-G). 

(Continued on page 65) 



Not every scientist in fiction has been mad. photos by inserting the complete title for each 

Most often, in fact, scientists are the heroes. . . movie. Next, mark the proper letter (A,B,C, etc.) 

certainly in science fiction films. Below, there's a next to the Doctor or Professor who appeared in 

directory of definitely sane (if occasionally mis- that film. Note: Several scientists are from the 

guided) men of learning. Some are main charac- same films, but each movie has at least one scien- 

ters . . . others are minor figures, but all of them tist listed in the directory. 

appear (or are mentioned) in the classic science A score of 15 or better is EXPERT. 10 or higher is 

fiction movies pictured on the opposite page. If VERY GOOD. Less than 10 means you need to stay 

you think you're a trivia expert, first identify the up and watch the late shows more often. 

Answers are on page 64. 

1. Dr. Bronson, of Mount Kenna Observatory. 

2. Dr. Edward Morbius, of the Bellerophon. 

3. Dr. Jonathan Wilson, president of the International 
Planetary Research Institute. 

4. Dr. Felix Zentar, Professor of Astronomy at Cornwall Univer- 

5. Dr. Clayton Forester, "... top man in astro and nuclear 

6. John Putnam, his crucially important hobby was astronomy. 

7. Dr. Tony Drake, confines his gazing "to the eyes, ears, nose, 
and throat." 

8. Dr. Hendron, of the Cosmos Observatory. 

9. Dr. Bilderbeck, of the Pacific Institute of Science and 

10. Dr. Dupre, a first extraterrestrial biologist. 

11. Dr. Gratzman, a scientist at Pacific Tech. 

12. Professor Barnhart, a genius stumped on a problem of 
celestial navigation. 

13. Professor Oliver Lindenbrook, who followed in Arne 
Saknussemm's footsteps. 

14. Dr. Miles Bennell, a general practitioner. 

15. Dr. Qttenger, of the Esterbrook Observatory. 

16. Dr. Fry, who believed that, in theory, rocket ships might fly to 
another planet. 

17. Dr. Dan Kauff man, who held a mass-hysteria theory. 

. 18. Dr. Cal Meacham, who believed in putting the nuclear horse 
before the cart. 
























































































































































































































Scan your memory bank to 
recall these sci-fi and related 
films. Can you match each 
movie with one of its stars? All 
of the capitalized words appear 
in the puzzle maze upside-down, 
rightside-up, forwards, back- 
wards, and diagonally (see 
example). Match answers ap- 
pear on page 64. 



Wallace BEERY 











Planet of the APES 

When Worlds COLLIDE 

Things to COME 

The Day the EARTH Stood Still 


FAIL Safe 

LOST World 

The Invisible MAN 


First Men in the MOON 

ONE Million B.C. 

Forbidden PLANET 

The SATAN Bug 




The TIME Machine 

You Only Live TWICE 

A VISIT to a Small Planet 

The WAR of the Worlds 

Henry FONDA 
Charlton HESTON 

Arthur HILL 

Jerry LEWIS 

Raymond MASSEY 

Gregory PECK 

Claude RAINS 

Michael RENNIE 

Barbara RUSH 
SEAN Connery 



Raquel WELCH 


(Continued from page 56) 

moving objects in the loch really are." It will be in- 
teresting to compare their results with the "results" 
reported in Nessie. 


Locked up somewhere in their gigantic vaults, Warner 
Brothers has what is reportedly a fine film: The Ultimate 
Warrior. It stars Yul Brynner and Max von Sydow— in a 
future New York where civilization has been reduced to 
savage and primitive conditions due to pollution. At this 
date, it is impossible to say if and when The Ultimate 
Warrior will be shown in the United States. The film, 
which is now making its way around England, might have 
a better chance for American release if Warner Brothers is 
reminded that there are actually people who enjoy science 
fiction! You can write to Warner Brothers at: Warner 
Brothers, 75 Rockefeller Plaza, New York, N.Y., 10019. 


Steven Spielberg— who directed Jaws— has written and 
is directing a new sci-fi extravaganza: Close Encounters of 
the Third Kind. According to recent reports, the film is 
behind schedule and over budget . . . and it's no wonder. 
Originally budgeted at $10 million, the film to date has 
spent half that amount on special effects alone. The 
budget is now officially $12 million and is still climbing. 

Spielberg discovered that there were no sound stages in 
Hollywood large enough to house his special-effects 
climax; so he leased two aircraft hangers in Mobile, 
Alabama, which is where the film is being largely made 

(they'll finish up with some interior sets in Hollywood and 
crowd scenes in India). 

If you're in the Mobile area, be advised: the set is not 
only closed to visitors, it is under 24-hour guard. Ap- 
parently, the effects are on the dangerous side, and 
Spielberg is determined to keep his visuals a deep dark 
secret until the film is released. 

In charge of special effects: Douglas Trumbull (who did 
2001 and. Andromeda Strain). Release date: Easter week, 
1977. A Dell paperback novelization will be published to 
coincide with the premiere. 

Although the whole project is shrouded in secrecy, it has 
been learned that the story concerns men on earth and 
visitors from elsewhere. To stress their dedicated atten- 
tion to detail and scientific accuracy, the producers are 
calling their imaginative outing a "science fact" movie. 


Roger Zelazny's popular novel, Damnation Alley, is be- 
ing filmed at 20th Century-Fox, produced by Jerome Zeit- 
man and Paul Maslansky. Screenplay by Alan Sharp and 
Lukas Heller. Directed by Jack Smight. Starring: Jan- 
Michael Vincent, Dominique Sanda, George Peppard and 
Paul Winfield. Clearly, this will be a major, high-budget ef- 


Monarch Releasing Company has just announced the fall 
premiere of The Fantastic Invasion of the Planet 
Earth— to be released in a new three-dimension process. 
Monarch president Allan Shackleton said the new process 
"is a far cry from what exhibitors knew in the past." 
(Back in the '50s, The Creature from the Black Lagoon and 
It Came from Outer Space were released in black & white 

Shackleton said the enthusiastic response he's received 
since revealing his 3-D project has encouraged him to plan 
sevesal more movies in the new process. 


. . . MGM began fuming Demon Seed with Julie Christie 
last May; produced by Herb Jaffe, directed by Donald 
Cammell, it's due for autumn release . . . Piranha, pro- 
duced by Michael Ullman, began filming July 15 . . . 
American International starts shooting a remake of H.G. . 
Wells' The Island of Dr. Moreau on September 15 (the 
first film version starred Charles Laughton and was called 
Island of Lost Souls) . . . The Cars of Apocalypse— a "sci-fi 
race-to- the-death thriller" —will film in France early next 
year; budgeted at $3 million, it stars Peter Fonda and Jim 
Mitchum . . . War Wizards— part live and part 

animated— is due for autumn release . . . There's a French- 
made parody of King K ong— called Queen Kong, in which 
a lady ape loves a handsome, lad— making its way 
around Europe . . . Crocodile — a nature-gone-amuck horror 
venture— is about convict girls working in an Australian 
swamp; Burt Lancaster has been signed to star . . . 
Micronauts will be filmed in England by Harry Saltzman 
(of James Bond movie fame) with an $8.5 million budget . . . 
The Sentinel, from the best-selling novel, has completed 
its location work in New stars Jose Ferrer, Ava 
Gardner, John Carradine, Martin Balsam . . . The Astral 
Factor— with Robert Foxworth, Elke Sommer, and Percy 
Rodriguez— is due for completion this fall ... -^ 



Over ONE MILLION science fiction fans read STARLOG each issue. Our readers 
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.lines, running 







Rims & Stars: 

17 Arness (The Thing) 

21 Barry (War of the Worlds) 

14 Basehart (The Satan Bug) 

8 Beery (Lost World) 
7 Fonda (Fail Safe) 

2 Heston (Planet of the Apes) 
1 Hill (Andromeda Strain) 

11 Jeffries (First Men in the Moon) 
20 Lewis (Visit to a Small Planet) 

4 Massey (Things to Come) 
13 Nielsen (Forbidden Planet) 
10 Peck (Marooned) 

9 Rains (Invisible Man) 

5 RennielDaythe Earth Stood Still) 

3 Rush (When Worlds Collide) 

19 Sean Connery (You Only Live Twice) 

15 Sellers (Dr. Strangelove) 

18 Taylor (The Time Machine) 

12 Welch (One Million B.C.) 

6 Werner (Fahrenheit 451) 

16 Whitmore (Them) 

The Sane Scientists: 

A - The Day the Earth Stood Still: 12. 

B - War of the Worlds: 5, 9, 10, 11. 

C - When Worlds Collide: 1, 3, 4, 7, 8, 15, 16. 

D - Forbidden Planet: 2. 

E — The Invasion of the Body Snatchers: 14, 17. 

F - This Is/and Earth: 18. 

G — Journey to the Center of the Earth: 13. 

H — It Came from Outer Space: 6. 



on sale 

NOVEMBER 23, 1976 

The Music 
of the Spheres 

(Continued from page 59) 



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Planet of the Apes, 1968, utilized a 
highly abstract symphonic score by 
Jerry Goldsmith. While this bristling 
music can be nervewracking to sit 
down and listen to, it was an in- 
genious accompaniment in the film. 
There was always a danger of unin- 
tentional humor in the Apes 
movies— with all that monkey busi- 
ness happening on the screen. 
Goldsmith's score is so profoundly 
devoid of humor that one is never in- 
vited to chuckle. Leonard Rosen- 
man's score for Beneath the Planet of 
the Apes (Amos Records AAS 8001), 
continued in the Goldsmith tradition. 

Day of the Dolphin, 1973, was ac- 
companied by a charming, sunny, 
tense score by Academy Award win- 
ner George Delerue. The music was 
arranged for a small orchestra— 
about like that required for a Bach 
Brandenberg Concerto. It's a 

delightful marriage of harpsichord 
and sonar bleeps! 

Hollywood, it seems, has just 
recently rediscovered that there's a 
vast and growing hoard of ticket- 
buyers who can't seem to get enough 
science-fiction. Many of the movies 
in production now have multi- 
million-dollar budgets, and that 
means they'll be paying for the best 
music money can buy. 

True, many of the giants of the in- 
dustry are dead— Max Steiner, Ber- 
nard Herrmann, Franz Waxman— 
but these composers were newcomers 

once, too. We can expect great music 
today from the likes of Jerry 
Goldsmith (who just turned out the 
grand-scale score for Logan's 
Bun— MGM MG-1-5302), John Wil- 
liams (who did the fringe-area sci-fi 
Jaws, Earthquake, and Towering In- 
ferno scores), and many others. More 
and more, these scores are being 
released as record albums. 

The future is once again on its way 
to our local movie theaters, and it is 
up to the music scores to give those 
visions depth and dimension ... to 
make the future soar. JL 

A limited edition of beautifully 
printed photo albums is available 
right now for true nostalgia lovers. 
Each collection consists of eight 
rare glossy photos (8"xl0") suitable 
for framing. Complete with a 
handsome protective binder, each 
set includes an identification fact 
sheet to give you interesting data 
about the pictures. 

We are offering both albums at 
less than half of what you'd expect 
to pay (if you could find them) in 
collectors' shops. Order today, 
while this special price offer lasts, 
and don't forget what ideal gifts 
Collector's Photo Albums would 
make for anyone who is still in love 
with the golden age of Hollywood 
. . . and that includes you! 


180 Madison Avenue, Suite 1503 

New York, N.Y. 10016 


The All-Time Classic Film 
D No. 2 Marilyn Monroe 

Photographer's Dream Girl 

Each Album ONLY $5.95 

(Includes EIGHT8" x 10" glossy pnotos. 
Collector's Folder, and Fact Sheet) 
Plus 30 1 each for postage. 


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Like the air at the top of Everest, the rarified at- 
mosphere of Mars has led us to climb— mainly because it's 
there. Long before the Viking missions, mankind had ex- 
plored Mars in minute detail: the deserts, the lost civiliza- 
tions, the canals, the permafrost, the tundra, the wild and 
wonderful inhabitants of that cold and angry planet. And 
some of those guesses— by H.G. Wells, Edgar Rice Bur- 
roughs, Ray Bradbury, Robert Heinlein, and others— have 
proved remarkably prophetic. 

In the film Robinson Crusoe on Mars, the sky was 
reddish— in fact, it's pink from the airborn red dust. The 
hero of the film survived through his discovery of large 
quantities of oxygen released from burning rocks— in 
fact, the soil contains an astonishing amount of oxygen 
that can be released by heat. The hero's lander crashed in 
a desert terrain and his tragedy was re-emphasized each 
time he saw his inaccessible orbiter fly overhead— in fact, 
the Viking lander could easily have suffered destruction 
among the desert boulders of the Chryse Planitia. 

This photo taken by Viking 1 shows Vallis 
Marineris, Mars' Grand Canyon, just below an 
area of cloud activity near the north pole. 
The south pole is in darkness at lower left. 


W wA 




Destination Moon's rocket was very similar to 

the German V2, designed by the same man in charge 

of development of the Saturn V, Werner von Braun. 



Left: A scene from Robinson Crusoe on Mars. The 
differences from the actual landscape around Vik- 
ing I (above) could be accidents of geography. 


Above left: This is a typical space suit from 
Destination Moon (1950). Above right: Apollo 11 
astronaut Edwin Aldrin Jr. descends to the moon. 

Aristotle claimed, in his "Poetics," that fiction is more 
vital than history— because history merely presents what 
is, while fiction presents what might be and ought to be. 

And it seems incontestable that no category of fiction 
has so influenced the course of progress and the scope of 
human accomplishment as has science fiction. 

Repeatedly, astronauts and scientists at NASA— when 
asked what or who prompted them to enter space 
science— answered: Jules Verne, H.G. Wells, Arthur C. 
Clarke, Isaac Asimov, the juvenile science-fiction series of 
Robert Heinlein, and so on. 

The most official acknowledgement of the role of fiction 
in the development of science might be an entry in 
NASA's published chronology of the Apollo program, 
Volume 1. A brief note on the formative years 1949-1952 
establishes the most important events leading to the 
Apollo moon missions: 

The 1949 publication of Willy Ley's The Conquest of 
Space— a beautifully presented scenario for man's 
departure from Earth, with illustrations by Chesley 

The 1952 publication of Arthur C. Clarke's The Explora- 
tion of Space which was a book-of-the-month club selec- 

And, most significantly, the wide-spread acceptance of 
George Pal's 1950 film of Robert Heinlein's Destination 
Moon which depicted in accurate detail a successful 
American landing on the moon, in which the satellite was 
claimed for peaceful purposes in the name of the United 
States, "for the benefit of all mankind." 

The future— as it might be and ought to be— was seen 
by millions, almost twenty years before Neil Armstrong's 
"small step" became another page of history. 

The original television soundtrack. 




RCA Records